Handwork 
Construction 



LINA EPPENDORFF 

Instructor in Pratt Institute 

Brooklyn 



Published by the Author 
Brooklyn, N. Y. 



l:b 



■ L 



Copyright 190 



BY 



LINA EPPENDORFF 



LIBRARY of CONGRESS 

Two Cnpi'-'. i'iH;"ivecl 

JUN 5 1UU9 
cc5py a. 



CONTENTS 

PAGE 

Introduction 9 

I. 

Free Weaving or Basketry 15 

II. 

Spokes Held By Weavers — Interweaving 30 

III. 

Pairing or Twining — Wrapping 50 

IV. 

Borders 65 

V. 

Sewed Baskets .' 79 

VI. 
Bead Work 87 

VII. 
Knots 97 

VIII. 

Practical Applications — Study Courses — Supplies 118 



ILLUSTRATIONS 

PLATE I. 

1. The type crossing. 



Page 14. 



PLATE IL 

2. Odd spokes. 

3. Oblong spokes. 

PLATE IIL 

7. Groups interweave. 

8. Single interweave. 

PLATE IV. 

12. Diagonal binding. 

13. Cross-stitch binding. 

PLATE V. 



17. 
18. 



Reversed weaver. 
Weaver-spoke. 



PLATE VL 

22. Plain circular weaving. 

23. Cross-section weaving. 

PLATE VII. 

27. Plain weave, cross-sections. 

28. Checker-weave, cross-sections. 

29. Ribbon-weave, cross-sections. 

PLATE VIII. 

33. Quadruple interlace. 

34. Grouped weave. 

PLATE IX. 



38. 
39. 



Pairing, groups. 
Twining, single. 



9. 
10. 
11. 



14. 
15. 
16. 



19. 
20. 
21. 



24. 
25. 
26. 



30. 
31. 
32. 



35. 
36. 
37. 



41. 

42. 



Page 20. 



Star-crossing, groups. 
Star-crossing, single. 
Whirl. 



Triangular groups. 
Hexagonal single. 
Split center. 



Tied circle. 
Single binding. 
Tapestry binding. 



Page 24 



Page 28. 



Page 32. 



Weaver start. 
Two weavers. 
Cross-section, two weavers. 

Page 36. 

Circular ribbon weave. 
Cross-section weave. 
Circular twill weave. 

Page 40. 

Twill, cross-sections. 
Four-ply weave, cross-sections. 
Center weave. 



Page 46. 



Cane seat. 
Rush-seat, start. 
Rush-seat, finish. 



40. Twining 2 colors, cross-sections. 43. 

PLATE X. 

44. Twining 2 colors, cross-sections. 46. 

45. Two-strand twining, cross- 47. 

sections. 

PLATE XI. 

48. Cashmere weave, cross-sections. 50. 

49. Cashmere weave, circular cross- 

sections. 51. 

52. 



Page 52. 

Twining, circular cross-section. 
Twined spokes. 
Double twined spokes. 

Page 56. 

Triple twist, cross-sections. 
Palm-plaiting, the button. 



Page 60. 

Jersey or knitting weave, cross- 
sections. 
Rug looping, cross-sections. 
Circular cross-section, 51. 



ILLUSTRATIONS— (Continued) 



PLATE XII . 



Page 64. 



53. 
54. 



Edge binding. 
Grouped binding. 



PLATE XIII . 

57. Looped spoke border. 

PLATE XIV. 

60. Cycle spoke border. 

PLATE XV. 

63. Close sewed stitch, cross-section. 

64. Long and short stitch, cross- 

section. 

PLATE XVI. 



68. 
69. 
70. 
71. 



Two-strand chain. 
Open chain. 
Daisy chain. 
Loom weaving. 



PLATE XVII. 

76. Horizontal loops. 

PLATE XVIII. 

78. Simple running knot. 

79. Loop knot. 

80. Slip loops. 

PLATE XIX. 

84. Figure-of-eight knot. 

85. Harness hitch. 

86. Bowline-in-a-bight. 

PLATE XX. 

90. Knotted on noose. 

91. Netting or hammock knot. 

PLATE XXI. 



96. 
97. 



Reef, flat knot. 
Solomon's knot. 



PLATE XXII. 
101-102, Turk's head. 



55. 
56. 


Diagonal binding. 
Palm or splint border. 




Page 70. 


58. 
59. 


Rolled spoke border. 
Madeira spoke border. 

Page 74. 


61. 
62. 


Shell spoke border. 
Flat braid border. 




Page 78. 


65. 
66. 
67. 


Figure-of-eight, cross-section. 
Knot or lace stitch, cross-section. 
Ray stitch. 




Page 86. 


72. 
73. 

74. 
75. 


Straight free sewing. 
Diagonal free sewing. 
Bead ed^e. 
Bead rosette. 




Page 95. 


77. 


Vertical loops. 




Page 96. 


81. 
82. 
83. 


See-saw chain. 
Two-fold knot. 
Fisherman's knot. 



Page 104. 



87. Standing bowline. 

88. Square knot. 

89. Looped square knot. 



92. Sheet bend. 
93-94. Weaver's knot. 
95. Carrick bend. 



Page 108. 



Page 112. 



98. Square or crown knot. 

99. Wall knot. 

100. Weill and crown knot. 

Page 116. 
103-104-105. Henage knot, beater. 



INTRODUCTION. 

" We must make a clear distinction between what we wish 
to teach, and what we wish to search after." 

Prof. Virchow. 



3T is of course not intended that each child in school should 
even make samples of all the methods of construction 
suggested by these diagrams. But it is surely time that the 
teacher of handwork should be expected to understand and 
practise more than the simple single problems that are given 
to children in a class. Fortunately we are beginning to see 
that the school curriculum is overcrowded and education too 
often weakened by unnecessary problems. Thru handwork, 
in a great many directions, a certain amount of practical 
intelligence can be developed in the child. This is always 
more successfully attained where the teacher feels herself clear 
and strong in a hmited subject, rather than where a smattering 
of many crafts hurries the classes on from one topic to 
another. 

In some schools a teacher is able to prolong courses in 
basketry or knotting or weaving or embroidery thru many 
grades, employing that one subject in apphed design thruout. 
In other schools a new subject is taken up each year, or again, 
handwork is used only by the art-teacher in the design courses, 
where only one, two or three problems occur each year and 
the greatest stress is laid upon the design and planing out 
of the work. I see no reason to quarrel with any of these 
methods ; a great deal can be attained thru any one. In all 
cases, the teacher must consider the processes of development 
in construction, pattern-making and design. Every problem 
of handwork presented in any school should be reached by 
preparatory stages, and should itself be recognized as a definite 
■stepping-stone toward a future subject. 

9 



INTRODUCTION 

It is not so many years since woman's handwork in the 
schools was confined to an elaboration of sewing and dress- 
making problems, from the first grade thru the high-school. 
There is no doubt the opportunity thus afforded for physical, 
mental or artistic development was entirely too limited. The 
young child is interested in action and altho a too close 
following of the stages in evolution of any industry is not 
essential, much may be learned from a wise selection. The 
child as weU as the savage handles lightly at first and seeks to 
discover the character of the object, what it can do of itself, 
or tends toward doing. The next stage finds him coercing, 
pulling, pounding, severing with all his might, the material 
he has discovered ; bending it to his will. When with his whole 
might he has battled, the student learns how far he can hope 
to control and gradually loosens his tension, until the same 
result is easily attained with one hand, or some tool. It is 
surprising how much force most craftsmen exert in their 
apparently easy handling of material. Machinery in the last 
stage, is too often compelled by the designer to control the- 
material into copying effects quite foreign to its true nature. 

Most machines, especially power looms, are still in the 
second stage of development where force masters and is 
wastefully expended. The present tendency toward machine 
methods and an easy reduction of human art and industry to 
such processes, renders it essential that school work should 
give every child an opportunity for original experiment and 
discovery, such as children in earlier days enjoyed in their 
farm homesteads. Carelessness or superficial facility, which 
at present satisfies too many amateurs, destroying all possibility 
of sound art or handicraft, should not be tolerated. Therefore, 
the class or test problem must he within the range of possible 
perfection for every child. It should never be "well done, 
considering the child's age," but must be accepted because it 
is worth while in itself. 

The materials furnished to the primary grades must be 
easy to handle, and render the child freer and more intelligent 
in his games and play-hour. The rudiments of a great variety 

10 



INTRODUCTION 

of industries can be approached and played with, until they 
awaken in the child decision and an ability to judge, test and 
prove for himself. 

In the grammar grades, handwork asserts its power thru 
repetition and perseverence, the conquering determination to 
make a perfect thing, if sticking to it can accomplish the end. 

After 13 years of age, machinery and the control of more 
elaborate tools, gives the young designer freedom to more 
thoughtfully adapt his results in the realization of artistic 
visions. 

While brain and hand have steadily been growing quicker 
and more deft, the sense of proportion and form must be as 
steadily developed, and the awakening joy in color and fanciful 
suggestion, developed thru a wise guidance in the study of 
design. History becomes famiKar in pictures and museum 
objects. The copying of perfect specimens is not so essential 
as an understanding is necessary, of what men and women in 
other ages saw and how they tried to express their pleasure 
in so seeing, thru their work. To translate this into a question 
for to-day : what do we see and how can we in our own way 
create our own means of expression.'' Manual training teachers 
must never forget the danger they are in of converting the 
children in a class into facile tools ready to copy only what 
the teacher places before them. The more we study the history 
of art or the wider field into which Archaeology can enter, the 
more convinced we become that, from the simplest form of 
bowl or platter to the most complex creation of human skill, 
beauty, harmony and exquisite proportion are everywhere 
possible in great variety ; if the problem is not too clumsily 
handled or too thoughtlessly dismissed. From first to last the 
questions face us: proportion .? proportion.? proportion? And 
from first to last never can we ignore the fastening off at start 
and finish of any thread. No flimsy craftwork will be accepted 
by a true worker, and no artist can be satisfied with even the 
most fascinating color, if proportions and balance have been 
ignored. There is more than one guiding system which plans 
the course of design for our school-rooms, I trust that 

11 



INTRODUCTION 

^' Handwork Construction " can be applied to any. We are 
continually reminded that no one can teach art. Here are 
merely definite considerations that no handworker can ignore. 
Beyond the - fact of creating a useful article with a money 
value, the power of any industrial problem over the art world, 
lies in the opportunity it presents for developing the sense 
of beauty in form, line and color; and the capacity awakened 
in the creator to apply his knowledge in other directions. 

No handwork given to children should be pushed for them 
to its final ultimate. Glimpses of further attainment may be 
pointed out, but leave the child free to reach his own future in 
his own way, if the teacher has clearly furnished laws for the 
first principles. The craftsman and designer must be guided 
by his inner vision as absolutely as the poet or painter. 

In basketry, knotting, weaving, lace or beadwork, there 
are but a few principles of construction which have endlessly 
been varied and combined. I have found it a great help to 
students to make free-hand working drawings for all their 
constructive problems. Working drawings and design should 
accompany all handwork. 

" It is the essence of composition that everything 
should be in a determined place, perform an intended 
part, and act in that part, advantageously for 

everything that is connected with it." 

J. RXJSKIN. 

We use cards of oak tag 9 " x 12" for mounting our sampler 
work, and the same sized sheets with point-edge border for 
making designs. One half-inch from the edge, a line of points 
%" apart is emphasized every half-inch by a heavier point. 
This enables us to easily draw, in pencil, straight lines, 
equi-distant, in vertical, horizontal and diagonal directions. 
On a horizontal hne, spacings for concentric circles can be 
easily marked, and a simple compass gives us the foundation 
lines for the circular and half-circle designs. The design 
occupies but a small portion of the card, and after it has been 

12 



INTRODUCTION 

painted or inked in, the pencil lines are easily erased. Each 
special problem handed in is accompanied with a card with 
working drawings for construction, center and finish and a 
sample of the colors used. Where drawings are not here given, 
students are expected to make their own. The following 
exercises have been arranged to instruct the first-year students 
of the Normal Art and Manual Training Classes at Pratt 
Institute, in the principles of handwork construction. Samplers, 
patterns, working drawings, help them to apply each in his 
own way, the designs of the composition class to special 
problems. 

The kindergarten and primary grade work forms an 
independent subject, which must be considered separately, 
altho in the outlines for courses, I have touched upon a few 
problems for the early grades. 

To pupils, teachers, friends who have so constantly aided 
me in these experiments, I extend my most sincere gratitude, 
realizing that without them my work were impossible. 

LiNA Eppendorff. 
Brooklyn, N. Y. 
1909. 



18 



PLATE I 





1. The type crossing. 



I. 

FREE WEAVING OR BASKETRY 

" Try always whenever you look at a form, to see the lines 
in it which have had power over its past fate, and will have 
power over its futurity. These are its awful lines; see that you 
seize on these, whatever else you miss." 

JOHX RUSKIN. 

IT is expected that the teacher will make large chalk drawings 
on the board as the work proceeds and thus enable the 
child to associate a mental image with the constructive act. 
As soon as possible the child should be able to make simple 
working drawings. 

Silhouettes cut from colored papers develop the sensitiveness 
to form which must guide the creative artist, and I expect the 
children to make small card models of baskets and boxes which 
can be criticized as to shape, before they are copied in the 
basket. Whenever color or borders or different stitches enter, 
design can be practised and should be discussed with the class. 
Sampler work is, of course, merely a test or experiment, and 
each teacher can use it as she finds best. 

The child, in the stiff reed which demands the use of his 
whole arm, easily identifies himself with the material in action, 
and can more easily express such action at this stage, by a 
simple drawing, than later. Pattern-making, construction and 
design are constantly in process of development, and should 
prepare the chjld for later responsibilities at whatever stage 
his school days may end. 

If the teacher wishes to encourage the use of wild or native 
material, flags, rushes, grasses gathered by the children, let her 
take care that these are not carelessly handled. 

Raffia is the skin of a palm leaf which came originally from 
Madagascar. It is shipped to China and thence to Western 

15 



FREE WEAVING OR BASKETRY 

cities. We procure it from seed-stores. The common dyed^' 
raiSa is impossible to use in its intensity and gaudiness. But 
if a small bunch is allowed to come to a boil and undyed raffia, 
thrown with this, delicate shades are possible in great variety, 
as different baths are used. 

Undyed raffia purchased in the coil or braid (6 or 8 pounds) 
should always be loosened and washed. To prepare for use, 
allow the raffia to lie for several hours in a wet cloth ; be careful 
not to work with it wet. Although glossy and smooth then, 
when the water evaporates it will be loose and wrinkled. If 
the worker's hands grow dry and hot, use a little water to 
moisten the fingers. Thread the larger end in the needle, cut 
off harsh or woody fiber. 

The rattan is a palm vine several hundred feet long, brought 
from the Orient and abundant in the Philippine Islands. In 
our manufactories these long canes are placed in a trough, and 
each approaches and is drawn thru three or five small knives 
which strip off the outer surface in ribbons which we use for 
cane seats. Next, another set of knives cuts off layers of pith 
or reed-winding, straight on one side, curving on the other, 
usually ^" wide. At the center lies the round reed. According 
to the size of the vines, the numbers vary from 00, very fine, to 
No. 9, heavy. Large sized reeds are sometimes cut into thin 
slices, lengthwise, called flats. Their fibers are loose, large and 
very pliable. 

Reed should be moistened before using, but long soaking 
or hot water ruin it. Cut the spokes the required length, tie 
them in bundles with undyed raffia or white cord; roll each 
weaver in a separate coil. Place these in water for 15 minutes 
or allow them to remain overnight in a wet cloth. As you work 
keep your fingers moist. 

Cane, reed-winding and splints only need to be dipped into 
water and then taken out. Splints are merely even shavings of 
ash or elm. In some manual training schools I am told the 
shavings from the work-shop have been used. 

Uniform modeling is important in all basket-work, and is- 
the result of even strain and pressure.. 

16 



FREE WEAVING OR BASKETRY 

The spokes should be stiffer than the weaver in all early 
work, as the latter winds in a waved line about them. Guide 
the weaver with the first finger and arm of the right hand. 
Screw and coax it about the spokes, but do not allow them to 
bend on the weaver. From the center all spokes should radiate 
straight with even spaces between them. Do not jerk the 
spokes, but they can be helped often by a steady straight pull 
or even pressure between thumb and first finger to direct their 
Hne. Moisten and press the spokes, before turning up for the 
sides of the basket, and also before making a border. When 
the pattern or shape is changed, be sure the weaver has fully 
completed the last row. Spokes turned up, should be held so 
that the bottom of the basket is toward you, the spokes pointing 
outwards. Use the left hand to turn and guide. 

Joining Weavers. The best method of joining weavers is 
to trim down half size the last and the new ends, spHce these' 
together at least 3 inches, and work as one. In the finer sizes 
(0, 1, 2) of reed, weavers are often merely crossed inside,, 
behind a spoke, or slipped under the weaving. At the end, the 
weaver always slips under the weaving. 

The center or start, and the border or finish, are most 
important for the strength of the basket; a flimsy basket is of 
no value. False bottoms may be made of wood or with heavy 
short spokes, and groups of fine reed inserted in the openings 
at the edge. 

In measuring for spokes allow twice the distance from the 
center to the edge and a generous portion for the border. 
Notice variations in the diameter of your model. 

Covers. There are many possible variations for flat, 
rounding covers ; covers with hinges ; covers with knobs ; covers 
that fit over the basket in different ways and with different 
handles. 

Handles. Handles for baskets are strongest when they cross 
the center as one of the long spokes and are long enough to 
make a double foundation. Each reed crosses to the opposite 
side and inserts itself at least 1 inch in the weaving, next the 
other handle spoke. A finer reed must now wind about this for 

17 



FREE WEAVING OR BASKETRY 

some rope finish. The fine reed starts from within, out under 
the fourth row of weaving and is carried slanting (%" apart, 
if small handle), to the opposite side of the basket where it 
again enters the weaving under the fourth row, crosses the 
spoke inside and comes to the front of the basket and coils next 
the first row of winding. Thus, until the rope twist is full. 

Handles may be braided with several strands and their ends 
worked into the side weaving in a good interlace or knot. 

One end only of the spoke in a basket may be long enough 
to serve as a foundation for a handle. After it has been inserted 
in the opposite side, cut a short piece of reed, insert in the 
weaving the same length as the others for the border. 

Rings of different sizes are often used as handles, also the 
Turk's head and many other decorative knots. Cane and raflSa 
can be wound straight and close around the foundation, but 
reed demands a slanting line filled in. The first and last ends 
serve to fasten into the weaving. 

PLACING THE SPOKES. 

Exercises in winding have shown us that we need a 
foundation about which to wind. Fence-making, wattling and 
basketry are experiments in construction with sticks or 
vines or grasses, lines rigid and flexible, as distinct from 
masses, surfaces or points. The foundation sticks, or pieces 
of reed, have been called stakes or spokes; two is, of course, 
the smallest number we can employ, and Plate No. 1 gives us 
the type-crossing (at their centers) for strength and resistance. 
These two elements may each consist of one broad piece of 
splint, and beyond the crossing can, if desired, be divided into 
narrower strips. 

Or, each element may itself be composed of separate reeds 
or spokes, placed side by side, Figures 2, 3, 12 and 18. 

FiGUEE 2. Or, if an odd nvunber of spokes are called for, 
any one of the single spokes in one group may be cut off one 
inch beyond the center. The short spoke may be an addition 
to the number of evenly-crossed groups, or one of such a 

18 



PLATE II. 



PLATE II 









2. Odd spokes. 4. Star-crossing, groups. 

3. Oblong spokes. 5. Star-crossing, single. 

6. Whirl. 



FREE WEAVING OR BASKETRY 

group may be shortened (figure 19). Thus, for plain weaving, 
after the first binding one weaver will alternate over and under 
single spokes spirally. 

At any point in the weaving, whenever the distance between 
the spokes becomes too great, new spokes may be inserted. 
Trim the ends to a point and push into the weaving beside 
those already secured. 

Figure 3. The vertical and horizontal spokes may be so 
separated into groups as to produce an oblong or oval bottom 
for a basket or tray. Plan to have aU the spokes the same 
length from the last crossing to the tip end. Figures 12 and 
13 suggest the best way of holding these spokes in place. 
Splints, reeds. 

Figure 4. The star-crossing is composed of four groups. 
Place first the vertical group, and over this the horizontal, 
and under these diagonally, groups 3 and 4. After the first 
binding, these groups are divided into smaller groups and 
gradually reduce to single spokes in a circle. Reeds. 

Figure 5. The star-crossing for single splints adds new 
spokes diagonally underneath and between the spokes already 
placed, until the closed circle (within which the weaving does 
not appear) is sufficiently large as a center. FoUow the same 
sequence as in the star-crossing of groups (figure 4). No. 1, 
vertical spoke ; No. 2, horizontal, under No. 1 ; No. 3 from 
right upper to left lower comer, diagonally below; and No. 
4 from left upper to right lower comer, diagonally underneath ; 
No. 5 will come between Nos. 1 and 3 ; No. 6, between Nos. 

3 and 2; No. 7, between Nos. 2 and 4; No. 8, between Nos. 

4 and 1. As the weaving proceeds, the space between the spokes 
widens, and it becomes necessary to add a complete new set of 
spokes, either on top or below. Arrange as before, a new set; 
place so that a new spoke comes between every two already 
secured. 

Or, new spokes may be inserted singly, if their ends are 
trimmed to a point and can be held with the center spokes under 
the weaving. 

21 



FREE WEAVING OR BASKETRY 

Figure 6. The whirl-crossing is used mostly for splints, 
which are trimmed down in the center to a narrow strip about 
y^' wide. The whirl differs from the star-crossing in the 
sequence followed for placing the spokes. If No. 1 is a vertical 
spoke, No. 2 wiU be the next diagonal one on the right of the 
upper and left of the lower ends of No. 1 ; No. 3 follows 
consecutively, and No. 8 closes the diagram next No. 1. A 
larger number may be used if desired ; and the better method for 
adding new spokes is to place above or underneath a new whirl 
of the same number. Splints. 

Looking thus at the simple first placing of spokes, 
independently of the rest of the problem, we are able to suggest 
clearly these arrangements, by simple free-hand drawings before 
considering the more complicated construction. Any class 
can easily make these from the teacher's drawings on the 
blackboard. With each problem add new exercises in drawing 
until the visualizing of all processes is so complete that the child 
naturally uses a pencil to explain any method of construction. 

SPOKES HOLD EACH OTHER. 

Figure. 7. Groups of spokes interweave over and under; 
best for round reeds smaller than No. 3. The Japanese often 
use six or seven spokes in a group of No. 2 round reed; same 
size weaver, two strands or pairing, figures 20, 38. Gradually 
with plain weaving, reduce the groups, use skipped weave, 
figure 26. Reed. 

Figure 8. For a square or oblong basket, with square 
corners, the plain over and under weave with single spokes may 
hold the entire base, close woven or with open spaces. Ash 
splints, %" wide, flats, flags or reed-winding, palm-leaf or 
ribbons of three, four or five strands of round reeds, No. 1 or 
No. 0. In the first grade, strips of oak tag %" wide may be 
used for May-baskets. 

Figures 27, 28, 29, 30, 31, and 32 suggest variations for 
the bottom, with single spokes. The design should be carefully 
drawn out on squared paper, before commencing fancy weaves. 
Palm, cane, or flags are the best materials here. 

22 



PLATE III. 



PLATE III 



rhJULJLmJLb :===== ^ 




II F'##^jiiiiiiiiiiiiiiiiiiiiiniii 

iiiir###<iiiiiiiiiiiiiiiiiiiiiiiiiiiiirr 

il';^^#'llllllllinililillllllilllllllllil 




6 




10 





II 
















i««J 



7o Groups interweave. 9. Triangular groups 

8, Single interweave. 10. Hexagonal, single 

11. Split center. 



FREE WEAVING OR BASKETRY 

As In diagram 32, twining with fine reed or raffia may hold 
the strips securely before the sides of the basket turn up. 

A diagonal placing of single flat spokes, for over and under 
weaving is possible. In pahn-plaiting the spokes are usually 
held thru the center by twining raffia, as in figure 47. On 
the sides of the basket the spokes continue then to cross each 
other diagonally. 

FiGUEE 9. Spokes in three groups interweave around a 
center. Each group may be composed of any (the same) 
number of round reeds, and after the binding may separate into 
smaller groups and single elements to form a round basket. 
Weavers of round reed may weave, twine, or wrap about the 
spokes. 

Spokes may be interlaced in five groups, but the center 
opening is usually large. 

Figure 10. Single spKnts, palm, flats, flags, rushes, or 
reed-winding may be interlaced hexagonally. Thus are 
constructed round, triangular, or hexagonal shaped baskets and 
boxes. After the diagonally crossed strands are turned up for 
the sides of the basket, a new strip forms the third element 
and is carried all the way round, and its ends overlap on each 
row. 

Parallel strands thruout always run under the same strips 
and over the others. 

In a similar way five single strips of palm may interlace 
pentagonally, and form an all-over surface, difficult to construct, 
but beautifully achieved by the Pacific Islanders. 

Figure 11. Each reed, larger than No. 2, in one group 
of spokes may be split or cut down the center, so that the 
other group may pass thru. This method is especially 
successful with large reeds in scrap-baskets, false and oblong 
bottoms, to keep the center flat. Diagrams 12 and 13 suggest 
the further finish. Weaving, twining, wrapping or triple twist 
may foUow. 

For false bottoms, use large reed. No. 5, the exact size 
of the base of the basket. When ready for the sides introduce 
rgroups of fine reeds into the openings of the weaving on each 

25 



FREE WEAVING OR BASKETRY 

side of the large spokes. The Madeira border is a favorite 
finish, either with or without a foundation of weaving or 
twining. 

FiGUKE 12. A center, held as in figure 11, may be further 
strengthened and ornamented (fbr round bottom) by binding 
it with a fine weaver. Follow first the white, then the dark 
diagonal hnes in the diagram. Place the middle of the 
weaver at the lower left-hand corner, carry one end over the 
crossed groups of spokes to the upper right corner, then 
underneath to the lower space between the two left-hand 
vertical spokes; again, bring it diagonally over the surface to 
the space on the right between the two upper horizontal 
spokes ; continue to the lower right corner, finish with the other 
half of the weaver to the upper left corner, and reverse by 
crossing in the opposite direction. 

Weave, twine or wrap with one, two or three weavers ; 
finish with any round reed border. 

Figure 13. The cross-stitch binding of fine reed over 
single spokes of round reed crossed for a round bottom ; or 
of raffia or fine cane, over spKnt, flags, flats or reed-winding. 
Figures 3 and 11 it is best to secure each crossing in this way 
with reed or rafl5a. 

Weave, twine or wrap with one or two weavers, any border 
may finish the sides of the basket. 

Figure 14. With spokes of fine reed, rush, grass or raffia 
to make a flexible mat or basket, cut double the length required, 
tie all together with raffia in the middle, and turn each end back 
with its other half. In the diagram each light spoke turns 
back with the dark strip following, to form the group or 
spoke for plain weaving, wrapping or twining. The tied ends 
of raffia can either be used as a spoke or as weavers. The hole 
in the center should be as small as possible, unless especially 
designed as a basket for baU of knitting yam or twine, when 
the thread passes thru it. When the space between the spokes 
is sufficient, introduce a second round of double spokes, and let 
each end of the new group join with one preceding and 
one following spoke of adjacent groups. Be careful that the 

S6 



PLATE IV. 



PLATE IV 








12. Diagonal binding. 14. Tied circle. 

13. Cross-stitch binding. 15. Single binding. 

16. Tapestry binding. 



FREE WEAVING OR BASKETRY 

doubling of the new spokes shows only on the wrong side^ 
Push the weaving, wrapping or twining close, and with raffia 
spokes new groups should be added about every five rows. 

Figure 15. Groups of spokes may be separately bound 
together before they are crossed. Raffia, or fine reed, form 
the best binders. Wind around the first spoke (on the left), 
then above, over one and two, under both ; add three on the 
right, and continue winding until a sufficient number of spokes 
are placed. Return over the last one ; next over and under two, 
until you end with the last binding beyond the first starting 
point. Fine reeds placed two on two, forming a sohd square, 
may be used in place of a single spoke, and a large number thus 
secured in each group. Weave, twine, or wrap the spokes in 
diminishing groups until you use only one. Sides and border 
as you wish. 

Figure 16. Tapestry, or close raffia weaving, may also 
bind a single group of splint or reed spokes. The diagram 
suggests the use of color for horizontal and vertical stripes 
and broken lines, when two different strands are used. As in 
the last exercise, fine reeds may be used in place of one spoke, 
and thus in a single large group forty or more spokes may be 
included. Separate gradually into smaller groups or one 
element ; weave, twine or wrap, and finish with a bound border- 
53, 54 and 55. 



29 



II. 

SPOKES HELD BY WEAVERS— INTERWEAVING. 

" I have far within me a belief that art is the love of certain 
balanced proportions and relations, which the mind likes to dis- 
cover and to bring out in what it deals with. * * * j should 
say that in our plastic arts the relations of lines and spaces are 
in my belief, the first and earliest desires. And again, I should 
have to say that, in my unexpressed faith, these needs are as 
needs of the soul and echoes of the laws of the universe, seen or 
unseen, reflections of the universal mathematics, cadences of the 
ancient music of the spheres." 

John La Farge. 

Plate IV, figures 12 to 16, have already introduced us to 
this subject, but now we begin seriously to consider how to 
fasten the weaver. 

Figure 17. The simplest start is over two spokes. It is 
generally used with card strips, splints, flats or reed-winding, 
and makes dainty httle May-baskets. Cross two spokes in the 
center, loop the fine end of the raffia over the top or vertical 
arm, bind with the doubled end of raffia. Weave over, under, 
over, under three times ; reverse the direction from the left arm, 
weave over, under, over, under three times. Add two diagonally 
placed spokes underneath, between those already held (figure 5). 
Continue to reverse the direction of the weave every three 
rows, add new diagonal spokes as you need them. Join the 
strips of raffia, by overlapping the ends, and treat as a single 
weaver. The sides of the basket may have woven strips of the 
same material as the spokes, ends overlap; or these may 
alternate with raffia winding or twining. Push the last end 
of raffia under the weaving. Border 4. 

Figure 18. The weaver-end spoke. With reed spokes 
a stronger weaver is called for, and reversing would be 
impossible. Place a horizontal group of spokes under the 
vertical one. At the lower left corner let the end of the weaver 
protrude as far as the spokes. Carry the weaver between 

80 



PLATE V. 



PLATE V 








17. Reversed weaver. 19. Weaver start. 

18. Weaver-spoke. 20. Two weavers. 

21. Cross-section, two weavers. 



INTERWEAVING 

thumb and first finger of the right hand, under the left horizontal 
group, over the top arm, under the right and over the lower 
group. When you reach the weaver-end spoke, treat that as a 
group and continue the alternation. Be very careful to screw 
the weaver in close and let it wind over and under while the 
weaver-end spoke remains rigid. After four rows of weaving, 
divide into groups of two, pressing the spokes in place with 
your finger. After a few rows, weave singly, cut off the 
weaver-end, and in its place insert a spoke the same size as 
the others. If the weaver is the same size as the spokes, it 
is often most effective to keep the spokes thruout in groups 
of two. In this case do not cut the weaver-end, but insert a 
new spoke; and others as they are called for, where there is 
space between the spokes. 

For joining weavers. Weavers No. 2 round reed or finer 
may simply cross each other behind a spoke and be trimmed 
later. Larger sizes must be spliced by trimming down to half 
size for at least 3 inches, and these overlapped ends worked as 
one. Slip the last end of the weaver under the weaving, finish 
with any reed borders. 

Figure 19. An odd number of spokes, one weaver, simple 
fastening. When cutting the spokes for a basket, cut one of 
them 1 inch longer than half the length of the others, or so 
that it will project beyond the center crossing. For instance, 
if we cut seven spokes 20 inches long, one must be cut 11 inches. 
The short end of the weaver is bound close by looping or 
doubling around the upper vertical group, which lies on top 
of the horizontal spokes. Wind four times around the groups, 
over and under. Separate into groups of two, weave round 
three times; then as single spokes are possible, press the ends 
over your finger and space evenly. From the first, conceal 
or ignore the two short ends of weaver and spoke. Insert 
spokes as needed and finish the weaver-end under the weaving. 
This start may apply to any of the group placings, especially 
figures 2, 11 and 14. 

Figure 20. Two weavers of reed, an even number of reed 
spokes. At the start, double the weaver (not evenly) about 

SS 



INTERWEAVING 

the upper vertical group of spokes. The spokes should be a 
larger size than the weaver. Weave over and under all the way 
round, first with one end of the weaver, foUow immediately 
with the alternate weave of the other end; gradually divide 
the spokes into smaller groups or singly. Join a new weaver 
separately to each end. Slip last end under the weaving. 
Finish with any reed border. For center, figures 1, 4, 5, 6, 
7, 8, 9, 11, 12, 13, 14, 15 and 16. 

FiGtrKE 21. When the basket turns up its spokes for the 
side, if we have eight spokes and one black and one white 
weaver, looking down upon it and ignoring the center, we shall 
see something like figure 21, the spoke-ends as dots, and the 
weavers as they alternate over and under, black always over 
the black rows, white over the white. This is a cross-section 
diagram of a plain circular weave, even number of spokes, and 
two weavers, round reed. 

Figure 22. The plain over and under circular weave, odd 
number of reed spokes, one weaver, after the spokes have been 
securely fastened in the center. 

Figure 23. The cross-section diagram of a plain circular 
weave, with an odd number of spokes and one weaver, after the 
sides have been turned up; showing alternation of a single 
weaver about the spokes. 

Figure 24. When there are an even number of reed spokes 
and one weaver, it is natural to carry the weaver in the same 
course several times; this gives us bands of ribbon weaving. 
Fasten at the start as in figure 19. When changing the weave 
carry under two spokes, as shown in figure 25. Any of the 
group centers may be thus treated or bands of ribbon weaving 
introduced as an ornament anywhere on the basket. Reed 
weaving or raffia over splint. 

Figure 25. The cross-section circular weave of even number 
of spokes, one weaver, showing the under skip to a new row. 
This is sometimes called the Indian weave, it is so commonly 
used by them in plain weaving of sweet grass over splint. This 
double crossing makes a slanting emphasis on the inside 
surface. On the outer surface it might, by repeats, develop 

34 



PLATE VI. 



PLATE VI 








22. Plain circular weaving. 24. Circular ribbon weave 

23. Cross-section weaving. 25. Cross-section weave. 

26. Circular twill weave. 



INTERWEAVING 

into effects similar to figure 26. Weavers of reed, raffia or 
sweet grass with reed, splint or flag spokes are possible. 

Figure 26. The diagonal or spiral circular weave, one 
weaver (odd or even number of spokes) works best, after 
fastening in the center, with a large number of spokes. The 
Japanese are fond of applying it to the woven center, figure 
7 of number 2 reed and six or seven in a group. Skipped 
weaves may also be introduced on the sides of the basket, with 
plain weaving, if the number of spokes is right for the 
alternation of the weaver. 

In interweaving hues of any given width or thickness, the 
stretched line acts similarly to a stiff spoke. When soft 
materials are used, the best commercial baskets are woven over 
a frame or box of the proportions desired. Very often, to 
secure a flat bottom, the start is nailed to a board and the 
material forced to conform to its level. 

The simplest stage, next to the fine weaving or basketry, 
is naturally the chair seat of coarse materials, splints, cane, 
rushes, reed-winding, stretched over a frame. 

After the first stretching of strands in one direction 
(reed-winding, splints, ribbons of fine reed, cane), patterns, 
similar to the skipped weaves of the kindergarten-mats, may be 
carried out. The same material may be used for crossing; or 
raffia over cane, or fine reed. 

The chairs, stools, etc., offer either a square-cornered 
frame, with evenly spaced holes to hold the crossing strands, or 
they have a frame made with dowels over which the material 
is wound. For reed-winding, which unlike the spHnt, has two 
different surfaces, a second rod gives opportunity for twisting 
the thread in the winding. 

Aside from the splint, reed or cane weaving, all the exercises 
on Plate VII may be applied to weaving with a needle on a 
frame, or a shuttle and loom. The simplest frame for needle 
weaving is a cardboard- with notched or pointed edges for 
even spacing of the twine or warp threads. Straw-board, 
with a reed or steel knitting-needle secured at top and bottom, 
forms another frame. Cards may have holes punched in them 

37 



INTERWEAVING 

every half-inch for the four sides of the weaving (any shape 
as for dolls' jackets, mittens, etc.). The holes carry a 
back-stitching of raffia, stretch the warp over this, and if you 
wish, finish the weft also under the stitching on the sides. A 
tape or a packer's needle, or heavy darning or worsted needle 
is better than a shuttle on the cards. Wooden frames may be 
made in the shop : pass two short dowels thru two strips 
of wood. Bind the warp onto the dowels with an extra 
twine ; or place headless nails on them ^ or ^ of an 
inch apart. Wooden slate frames, or something similar, may 
have headless nails evenly spaced to hold the warp. Painters' 
stretchers can hold dowels. Whenever the warp works up 
and the weft remains rigid, as when stiff grass or reeds are 
carried thru the warp, an elastic border is called for, and 
twine which can give, may be stretched thru holes in wood or 
cardboard. 

Any fabric stretched on an embroidery frame may have a 
pattern outlined, and within that the threads stretched and 
woven, instead of embroidered. The Fairbault and Todd looms 
have notched edges, and in the different sizes are very popular. 
The Woodbury and the Linen Thread Company's looms are 
the simplest I have seen with heddle attachment. 

In frame or loom weaving the surface or textile constructed 
is called the web; the vertical strands or spokes firmly held in 
the frame are the warp ; and the thread carried by needle or 
shuttle across the warp is the weft, woof or filling. 

Figure 27. Plain over and under weaving, two cross- 
sections, spokes rigid, or tapestry weave. This is a chart of 
the simplest reed basket weaving. When threads are used in 
a loom or frame, the soft weft may be loose enough to 
completely cover the warp, and this we call tapestry, as in 
figure 16. With fine wool, designs may be completely worked 
in one or more colors and then the background filled in. 

In the younger grades on the card looms, colored stripes 
may be woven with silkalene, rovings or worsted over cords, for 
articles for dolls' houses, carpets, etc., or with twine for the 
dolls' hammocks. Notice the cross-sections as contrasting with 
those in the next figure, 28. 



PLATE VII. 



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27 



28 




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£ S «JU f fli 






32 




27. Plain weave, cross-sections. 

28. Checker-weave, cross-sections 

29. Ribbon-weave, cross-sections 



v3 


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30. 
31. 
32 



Twill, cross-sections. 
Four-ply weave, cross-sections 
Center weave. 



INTERWEAVING 

FiGTTEE 28. Plain over and under checker or canvas weave, 
two cross-sections. Here both warp and weft wave and the 
end spokes on both sides alternate instead of lying in a straight 
line. Palm-leaf, flags, flats, splints, rushes or reed-winding 
produce this effect, as well as heavy threads, raffia, tape or 
ribbon. Both warp and weft threads are equally, though 
alternately, evident on both surfaces. 

In the third or fourth grades, with card looms, use ^" 
wide cotton tape for weaving belts, pockets, mats, covers ; 
round, oblong, or square. Turn the edges uniformly and 
carefully — do not pull too tight. Work figures in cross-stitch, 
from original designs, with red or blue embroidery cotton. 

In the next grade, pad-covers, card-cases, and small trays, 
may be made with colored raffia and a bound edge. Double 
strands of mercerized cotton, or silk, or the heavy Bargarren 
linen floss, or the D. M. C. embroidery cotton (large size, in 
colors), give changeable effects, warp and weft different; or 
lines and plaids, when both vary in gingham designs. 

In the second grade, strips of colored muslin (skirt-lining) 
torn a little over an inch wide lengthwise, can have edges evenly 
folded in and make very good free woven mats. Crease in the 
middle, start with four strips woven around a center, vary 
sequence of color in warp and woof, center and edges. Fold 
back the under strips on the surface every time you place a 
new strip, first at the top, then on the right, below, and on the 
left. Push close and fold out strips ; finish ends under weaving 
on alternate sides. A great variety of good patterns form 
themselves and you can discover here the origin of the swastika. 
Like a game of chess, if a squared off paper is at hand, the 
sequence in the color of the threads determined, this is plain 
weaving and every alternate crossing will have the same color 
on top and patterns can be thus invented. 

Turn the squared paper diagonally and fill alternate spaces 
for braid designs. Lacers, raffia, tapes, ribbons can be braided, 
even and uneven number of strands. The simple card frames 
with reeds or stitching can hold the doubled strands at the 
start. Let the over and under alternation begin from the very 

41 



INTERWEAVING 

start ; keep the edges even and the strain on all equal. If 
desired, a reed, at the sides, or stitching, can keep the edges 
straight, or a pin may be used at the turn, as in bobbin lace. 

In the first two grades take three strands of different colors 
for first braiding exercise; in the next grade let the children- 
invent all the variations possible with two lacers of two colors 
doubled. Braid arranging colors differently, also with skips. 
Weave, holding three strands straight, one weft ; two weft, two 
warp ; three weft follow each other over one warp. Braid in? 
circle, looping every other strand into previous braid edge. 
Make solid braid, hollow braid or around a cord. These braids 
will all be useful in the bags woven and knotted, for handles. 

When using a loom with heddles, a variety of effects may 
be produced with merely the over and under, two harness 
weaving; Woodbury small loom. Linen Thread Company's 
loom. Besides varying the size of the threads in different ways, 
and the variations with colored threads, gingham weaves, 
shadow weaving calls for a strong colored stencil stained on the 
warp threads. A fine weft veils and leaves the pattern with 
broken edges. 

A plain woven ground may have patterns in soft wool, or 
cotton, or flax floss, or silk carried independently at intervals 
over the warp and weft, and held in place by the plain weaving. 
Velvets, velours, corduroys, have extra threads carried over 
plain weaving in weft ; Brussels carpet, etc., same in warp. 

The knotted Turkish or Persian rug ties either short ends 
or a continuous strand around two warp threads, as in figure 
61. Between every row of worsted knots a plain over and under 
weave of twine (hke the warp) is carried back and forth. A 
tapestry weave finishes beginning and end, and is finally woven 
over the side edges. Be sure to comb or batten the weaving 
very close and firm. 

All selvedges, especially with skipped weaves, should be 
plain over and under weaving on four edges. 

Figure 29. Triple or ribbon weave, two cross-sections. 
Here every other warp strand is raised, but three strands of 
the weft come to the surface alternately. Notice cross-sections. 

42 



INTERWEAVING 

This manner of weaving is common for borders in plain woven 
or sewed reed baskets. With loom weaving it also suggests 
opportunities for borders or spots. 

Figure 30. The twill or diagonal weave, two over, two 
under; cross-sections. This is a favorite effect when weaving 
with cane or reed-winding or splints. It is then always better 
than the plain weave, as it is a little elastic and not so apt to 
break the strands when pushed close. Cross-sections show 
the uniform construction, the strands in both directions give 
and take the strain. In fine threads on a loom a great variety 
of twills and diaper patterns are possible, with a sufficient 
number of heddles or harness. 

In weaving satin, the weft passes over warp threads (after 
selvedges of plain weaving) ; picks up one thread, passes over 
four (or more) and picks up one again. The following row, 
the thread picked up is two beyond that in warp on the first 
row ; thus the floating threads conceal the weave, and the effect 
with unspun silk over fine warp, when moistened and pressed, 
is of an unbroken glossy surface. Thus, we can have cotton, 
linen or silk back satins, according to warp of same. 

Damask is another variation of the twill weave. The weft 
passes over four or eight (single or double) threads of warp 
and picks up one thread. In succeeding rows the warp thread, 
picked up is the next one diagonally across the weaving, 
therefore, we notice this line. Usually the color in warp and 
weft is the same, the patterns are produced by reversing the 
weave within the designed figure. Where the ground work in 
the weft skips four threads of warp to pick up one, the figure 
picks up four threads and goes over one warp. The two 
surfaces, therefore, offer two opposite effects in hght and shade 
of pattern. 

With plain over and under weaving, skipped thread patterns 
may occur at intervals, or as a border or stripe. The elaboration 
of pattern-making on foot or power looms, with endless 
combinations in harness or jacquard attachment, lies quite out- 
side the limits of this work, and requires special instruction in 
designing. But school work can give a clear understanding of 

43 



INTERWEAVING 

the underlying principles of textile construction, and thus 
imagination may be able to follow the intricacies of machine 
combinations. 

Figure 31. Two-ply warp and weft, with cross-sections. 
Every alternate spoke in the warp lies on a lower plain than 
the nest ones. Both spokes remain rigid thruout. Every 
alternate weft spoke is rigid, and treated as a spoke, furnishes 
the foundation for the sides of a square cornered basket. If 
these spokes are No. 3 round reed, the weaver may be of No. 2 
or two strands of No. 1 reed, or of reed-winding or cane. Weave 
over and under the warp, and with an odd number of spokes, 
cross also over the rigid welt. A solid, strong, close foundation 
for traj-s, boxes, or square-cornered baskets, dress-suit cases, 
etc. Pairing or triple twist is best to give strong sides. The 
cross-sections show how the weavers work, and spokes should 
be equi-distant on all four sides. 

Figure 32. A skipped weave, worked from the center; 
edges twined. This is a very successful method of making 
designs for weaving in sphnts, reed-winding, cane and the covers 
for- stools or chairs, or for constructing baskets of these 
materials to avoid the plain over and under weave, except at 
the edge. In the baskets, if the sides are turned up at right 
angles to the base, hold firmly by twining raffia. Work out 
designs on the squared paper. The sides of the basket may 
have woven or twined finish and a bound or rolled border. 

In joining strands of reed-winding on stools or chair tops, 
use small-sized brass rings. Insert two ends of the reeds to be 
joined, turn each back upon itself, and press the ring next to 
the frame of stool. 

Figures 33, 34. Chair frames, with holes evenly spaced, 
or wooden bottoms for baskets or trays (little holes) may be 
covered with a variety of cane wea\angs and interlaces. A 
strip of broader cane is couched over holes for finish on chairs, 
and for baskets or trays, groups of fine reeds may be inserted, 
and Madeira finish can cover the wooden edge, round or square. 
Preserve absolute uniformity ; stretch all in one direction at a 

4<4< 



PLATE VIU 



PLATE VIII 




iiiuii inmiuiiiiiiiiiiuii ; luioiumiiitiim iiiiiiuiiiiinngii in iiiiuminiii 



IIIUII iiiiiiiiiiiiiiiuiiiii iiiiiiiuiiiuwiv gmnijHiiii: MM 

iiiiiiiMiii iiiiMiiii MiiTMrfi ffiifflfln Hi 



Ljl 

rif II II 



iiinii iiiiiiiiiiiiiiiDUiii : munnioDiii Mmmiiiiiiiii tiiiiDnniiflwiui 




34 






33. Quadruple interlace. 35. Cane seat. 

34. Grouped weave. 36. Rush-seat, start. 

37. Rush-seat, finish. 



INTERWEAVING 

time; avoid too large holes, and make as many designs as 
possible. With palm or cane, entire baskets may be thus woven ; 
bind the edge. 

Figures 24. 35. The double octagonal inter-lace for cane 
seats. The holes on the frame of the chair occur so that 
stretched strands lie straight, parallel or at right-angles to 
each other. When the shape of the seat is circular or curving, 
some holes may be skipped in order to keep parallel hues 
equi-distant, but a hole skipped on one side demands a skip on 
the corresponding opposite side of the seat. For a practise 
problem, flax twine is sometimes used, then varnished. 

The cane should be dipped into water, but not allowed to 
soak long, and as it shrinks when dry (contrary to raffia), care 
must be taken not to pull the strands too tight or the frame 
may be broken as the cane dries. Three or four small wooden 
pegs are used, which can be inserted as soon as the cane has 
been stretched through a hole. The first need not be removed 
until the end, but the last can be moved on as the work proceeds. 

Start with the middle of a strip of cane in the lower central 
hole, insert the peg, and carry the cane to the corresponding 
upper hole, peg. Bring the cane up thru the next hole on the 
right, peg, and continue until end of the weaver. Proceed with 
the left-end strand on the other half of the seat. 

The ends are often joined by a simple tie, or by binding one 
end over the other. This leaves the wrong side of the frame 
far from neat. The best finish is to use a small brass ring 
{Yq inch in diameter), insert both new and old ends of the cane 
and double each back, carrying doubled ends (back to back) 
thru successive holes. The ring must be used against the frame, 
then added strain tightens the strands. If rings are not used, 
stretch the last end of cane over the next hole, insert the new 
weaver from above and double its end back on itself. The 
succeeding weavers will hold the end in place. 

Professional workers, considering speed mainly, use their 

"discretion in the sequence of placing strands. Some prefer to 

stretch the second row of strands horizontally across the first 

vertical row. The third row then repeats the first, in the same 

47 



INTERWEAVING 

holes, and the fourth row follows the second, but is careful ta 
interweave between the crossing vertical strands, and always 
maintains an alternation over and under of the weavers, as they 
occur in both directions, figure 34. 

Other weavers prefer to repeat, for the second row, the first 
vertical strands, and in the third and fourth rows interweave 
alternately. 

FiGUEE 35. The fifth and sixth rows run diagonally over 
the horizontal pairs and under the vertical pairs, or vice versa. 
In deciding which sequence to pursue, discover which crossing 
will allow the diagonal strands to sHp in most closely into the 
previous interweaves. The vertical and horizontal strands lie 
in groups of two between diagonal crossings above and below 
them. Over all parallel strips of cane, the diagonal lines cross 
in the same directions above or below. 

When very fine cane is used, some workers insist that the 
best way is to carry first a vertical, then a horizontal, then a 
diagonal line, from left to right over the first and under the 
second. Next interweave a second horizontal line; then the 
second vertical one, and last, the opposite diagonal strand 
which reverses under, over. 

To cover the holes in the frame, use a broad strip of cane, 
start at one comer hole, return to the same. Couch with fine 
cane, skipping holes evenly and securing comers. 

Fancy interlaces are used in thread for lace effects (either 
with or without knotting), on the surface of fabrics, or to fill 
cut spaces. A still greater variety of designs are here possible. 

Figures 36, 37. The rush-bottom or flag-seat. 

For the rush-bottom seat a frame is provided, with rounding 
edges and a definite, substantial comer that rises a little above 
the connecting frame, and suggests how thick the coil of the 
rush should be. If rushes or cat-tail flags cannot be procured, 
heavy hemp or sisal twine or raffia are possible. In the southern 
United States ropes of corn-husks are thus used, and thruout 
Europe the exquisite golden finish of rye straw, wound over 
twine or grass, makes the most attractive seats. 

48 



INTERWEAVING 

The rushes or cat-tail flags should be cut in August; the 
butt ends removed; all thoroughly dried and so handled as not 
to be broken. Before working, allow them to lie in a wet cloth, 
to soften. When using, squeeze the air and water out by 
pressing each leaf from the tip, between your thumb and first 
finger. Four leaves usually compose a strand ; twist in the same 
direction, and keep uniform in size. With flags or rushes the 
strands stretch underneath without twisting, and new leaves 
are introduced at the comers where the coil turns back for a 
new direction. The last end is pushed under the stretched 
strands below. 

The winding proceeds from the outer comers toward the 
center, and if the frame is not square, two opposite sides of 
the frame are fiUed with straight winding back and forth. 
Professional workers have a small wooden knife, like a paper- 
folder, with which the strands are straightened, pushed in line, 
or smoothed down. 

After the wrapping is finished, broken ends of rush, excelsior 
or even paper, are stuffed into the middle to make a firm, solid 
seat. 

When raflSa is used, color can be introduced. Borders or 
centers can be planned with contrasts of color. The winding 
is sometimes varied by group crossings. 

This is a very useful problem in eighth grade or high school, 
when stools are made in the work-shop. 



49 



III. 

PAIRING OR TWINING. WRAPPING. 

**It is the definite individual character of an object which 
makes beauty." 

W. H. Huirr. 

" There is nothing careless in the art of design, even in the 
little art of ornament." 

John Ruskin. 

Twining applies to the half-twisting of two weavers about 
given spokes ; when the weavers are comparatively stiff and 
strong, as in the rattan reeds or willow, the name pairing has 
been used. Whenever in weaving we wish to hold one or more 
spokes a given distance apart, the twining or pairing will 
secure them. 

Sailors make mats with strips of wood, as the Japanese 
make screens, joining them by twine in the Malay hitch (or 
twining). Among the ruins of the Swiss Lake-dwellers, 
specimens of plain weaving and twining are found. The North 
Pacific Indians use this construction constantly in making 
blankets and rugs, as well as baskets. In the drawn-work of 
modem Mexican lace the stitch is called fagoting. In fine 
threads on power looms it is known as a grenadine weave. 

Sometimes a weft thread weaves under and over straight 
across, and the needle brings back the thread diagonally over 
and under succeeding strands of warp, so that each is held 
by two weft threads crossed between them. 

The placing of spokes has already been discussed and some 
problems given especially applicable to twining. It is important 
that the strain on the two weavers should be uniform. When 
new weavers are called for join each end separately by splicing. 

Horizontal, vertical, or broken lines of color are achieved 
by using different colored weavers in reed or raffia. 

50 



PLATE IX 



PLATE IX 






40 41 





43 



y AW A iiiiii ^. iiiii '^ iiiii A I 
^ ml! K mil! \ m A iiiii f . 



38. Pairing, groups. 41. Twining, circular cross-section. 

39. Twining, single. 42. Twined spokes. 

♦0. Twining 2 colors, cross-sections. 43. Twining, crossed spokes. 



PAIRING OR TWINING. 

Figure 38. Pairing for the start or center. A long 
flexible weaver of round reed is doubled near the center around 
the upper arm of two groups of crossed reed spokes. Both 
ends are brought forward and pulled close to the center; carry 
the left end in front of the upper group of spokes, over the 
right weaver, under the right arm of the horizontal group of 
spokes, and draw it close to the center. Use always the left 
weaver, and come to the surface one space beyond the right 
weaver. Divide the groups into smaller numbers, and finally 
single spokes. Use any of the group centers, odd or even. 

Figure 39. Each spoke in a group can at once be held 
separately by the two weavers of rafHa, or fine reed. Use any 
single spoke center or woven centers, 2, 3, 5, 8, 11, 12, 13, 14, 
15, 16. 

For holding warp threads in an Indian loom, or for securing 
a slight uniform distance between spokes of splint or reed, 
twine with cord or raffia. 

The two crossing groups in the button of palm plaiting 
are each held separately by twining, thru the center, with raifia 
or fine thread. 

Figure 40. Twining, two colors ; two cross-sections. When 
the two weavers in twining are of different colors, an even 
number of spokes gives vertical stripes, and an odd number of 
spokes, diagonal ones. Interesting designs for straight and 
broken line effects are abundant. The lower cross-section shows 
the origin of the Greek guilloche. 

Figure 41. Pairing or twining, circular cross-section. 

Figure 42. A center for twining. Spokes may cross, 
allowing spaces between them in both directions ; and the 
twining may pass over both at the outer crossing only. For 
round or square-cornered baskets, a strand of reed may coil 
continuously up the sides and over the cross spokes, lying in 
both directions. Twine over these with raffia or fine reed. 

Figure 43. A center for twining square or round baskets. 
Each row of crossed spokes may be held at each crossing by 
twined weavers, either close or far apart. Be sure the weavers 
cross as they approach and start a new row. If the twining 

63 



PAIRING OR TWINING 

reverses its direction, on successive rows, a herring-bone effect 
is given. After the entire base has thus been constructed, the 
sides may have the underlying coil continue for the twining to 
pass over the spokes and coil. With square-cornered baskets, 
trays of sphnt, or reed-winding spokes, the strips on each row 
have their ends overlapped. 

With this base, the sides are often of single twining only; 
the crossing splint is introduced to strengthen the bottom, or 
decorate the top as a border. 

Some designs call for an indefinite number of stitches of one 
color, and more than two colors in the twining. With plain 
twining each raffia weaver may have a strip of another color 
underlying it and the color called for always turned uppermost. 
Figure 44. Twining with two colors, cross-sections. 
When the design in two colors calls for an irregular grouping 
of stitches, the raffia may be used, as in diagram 44!. When 
necessary, carry one weaver straight, instead of diagonally, 
across the back of the spoke, and let the front weaver fold over 
this. Cross-sections show the manner of working still more 
clearly. 

Figure 45. Double twining, surface and cross-sections. 
Weavers the same color. 

Figure 46. The triple twist with cross-sections. Three 
weavers are used and, in this simplest rope arrangement, each 
weaver at the left of the three successive spokes is held closely 
to the center. As in twining, use the left weaver always, carry 
it in front of two spokes (over the two weavers), cross behind 
and come out to the right of third spoke. In other words, the 
work grows by carrying the weaver from the left under and 
out beyond one new spoke on the right and applies equally to 
four or more spokes provided with the same number of weavers. 
Colors may be used also. This is one of the most effective of 
all-over-weaves, as well as the strongest. It should always 
secure the turn from the base in scrap-baskets. 

A number of variations of the triple twist are possible if one 
alters the crossing of the weavers, as in braiding upon the 
spokes with different numbers of weavers. 

54 



PLATE X 



PLATE X 







:i; 



^' :-!■; 



.cM:>,rK}.<:MD c 



45 



44- 



47 



44, Twining 2 colors, cross-sections. 

45. Double twining, cross-sections. 





46. Triple twist, cross-section. 

47. Palm-plaiting, the buttons. 



PAIRING OR TWINING. 

Figure 47. Palm-plaiting, the button or start, held by 
twining with raffia or thread. To have the palm-leaf pliable, 
place it in a wet cloth several hours before using; do not soak 
it in water, but keep your fingers moist while you work. Flags, 
rushes, fine splints, or strips of oak-tag also may be plaited. 
We have studied one, two, three or more weavers carried over 
a definite number of spokes, but in plaiting each strand crosses 
under or over every strand running in the opposite direction. 

Cut the pahn-strips (any number divisible by four) equal 
lengths, divide in two groups ; twine each thru the middle with 
fine raffia, tie at the end. Place one group (dark) horizontally 
before you, with the vertical twining in the center. Find the 
center of both groups, place the other at right-angles over the 
first. Slip the right upper half of the vertical or white group 
under the upper, right, dark, horizontal group. The lower, 
right, vertical group lies over the lower dark horizontal one. 
SUp the lower, left, light, vertical group under the lower, 
left, dark horizontal; the upper, left, vertical, Hght 
group will lie over the upper, left, horizontal dark 
group. The center may interweave according to any 
design planned on diagonal squared paper. The twining runs 
to the four corners, and it is easiest to work one-quarter at a 
time, diminishing each row the number of crossed strips. Before 
turning up, let each of the strips in three quarters, lie on top 
in one direction, below at right angles in the opposite direction ; 
and the crossings alternate in sections, as in the diagram. Let 
the last row all the way round plait over and under one. If 
the plaiting does not come out even at any row, there must have 
been a mistake. The sides are now ready to turn up diagonally 
and at right angles to each other in any given section. Begin 
at the upper corner. The left, upper, vertical, hght strip, is 
crossed under the right, upper, vertical, light strip (both next 
the twining of the horizontal strips). The right, upper, dark, 
horizontal strip passes under the next (second on the right) 
light, vertical strip. Plait once all the way round thus, 
reversing the position of the strips ; hold the corners firm and 
proceed with patterns, as designed on diagonal squared paper. 

57 



PAIRING OR TWINING 

Keep the rows even and evenly puUed close. Use the diagonal 
pakn border 56, as finish. 

If a strand breaks, cut it close to the weaving and insert a 
new strip over the same strand in the weaving. Wooden molds, 
square or round, are often used to press the moist basket over. 

When a round basket is desired the center may be started 
square, and new strands added, so that each strip in both 
directions is worked double for two rows, then divide into single 
strands. The ends at first project on the surface and are 
trimmed off when the work is finished. Or, on the wrong side 
of the basket, a new strip may be folded in half, each end 
working with two successive spokes in opposite directions. 

Designs can be worked out in different colors. Make models 
for the form of the baskets in tag cards. 

WRAPPED STITCHES. 

Figure 48. Wrapped stitches come half-way between 
weaving, sewed, and knotted work and share many points in 
common. After the spokes have been securely fastened in the 
center, the rafSa or fine reed may be wrapped under two spokes 
back over one. This Mohave wrapped stitch is known in India 
as the Cashmere stitch. Heavy worsted carpets or fine camel's 
hair shawls are thus woven. 

The reverse side makes a new effect of half-cross stitch. 
On the rugs, fine worsted is thus wrapped over flax warp, to 
make many patterns with slanting edges. Other designs are 
filled in about the first. 

For small baskets with fine reed or split reed-winding 
spokes, this wrapped stitch is effective, worked in raffia. Small 
twine-ball cases, started like diagram 14, tied with raffia which 
serves at once to wrap four spokes together, and leaves a hole 
for the string in the center, can gradually be divided in smaller 
groups. After the sides are completed with stripes of colored 
raffia, divide the spokes into four groups, bind these down until 
they end with a loop at the top. A raffia ring can hold all 

68 



PLATE XI. 



PLATE XI 




M=M=M=Ml 






50 






51 




48. Cashmere weave, cross-sections. 50. Jersey or knitting weave, cross- 

49. Cashmere weave, circular cross- sections. 

sections. 51. Rug looping, cross-sections. 

52. Circular cross-section, 51. 



WRAPPING 

together and yet leave free space for introducing the ball of 
twine. Make baskets for knitting balls with large rings for 
handles to slip over the arm of the worker. 

Figure 49. Circular cross-section of Mohave wrapped or 
the Cashmere weave. 

When constructiong a melon-shaped or saddle-back basket, 
two circles of reed are carefully wound with raffia. One ring 
represents the upper edge of the basket; lies horizontal, and is 
crossed at right-angles by the other circle, which forms a 
handle and the mid-rib of the bottom. Where these two circles 
cross each other they must be firmly bound together. After 
the first raffia winding, carry fine cane or fine reed in this 
wrapped stitch (diagonal line outside) over the four crossing 
arms, over two and back under the last, until a four-sided 
shield or diamond is complete. Strips of splint, or reed winding 
or flats can form the spokes of the basket. These lie horizontally, 
are pointed at the ends and fit in close under the shield. Beyond 
the wrapping, let fine cane or raffia weave back and forth from, 
edge to edge of the basket. A great variety of shapes are 
possible, and card models may be made with strips of oak tag. 

The Mohave wrapped stitch has been used by the Mexicans 
to make gay little flags of worsted, over sticks crossed at 
right-angles, which they use in out-of-door games. 

Figure 50. Double wrapped method of weaving used in^ 
some parts of South Africa for raffia, or fine reeds, over reeds. 
If the vertical lines were removed we should have a perfect 
diagram of knitted stitches. Whenever knitting or stockinette 
is to be carefully mended, as in bead bags or fine stockings, 
stretch vertical threads and loop over two with these stitches. 
We go over one, under two, over the last, under two and over 
the last alternately, above and below. The other side gives us 
the reverse efi'ect, or purling as it is called in knitting. 

Figure 51. The Ghiordjes or Turkish rug knot used in 
making pile rugs. Between every row of knots there must, in 
the rug, be two rows of plain weaving, over and back. Here 
the spacing remains uniform, as this is a stitch which can be 
woven in reeds eff'ectively on the sides of baskets. If the two. 

61 



WRAPPING. 

ends coming up from below, between the same warp threads, 
were pulled tight, so that the two warps were pushed close, the 
lower outer loop left longer, we should have exactly the effect 
of the Turkish pile. These must all be trimmed off evenly 
afterwards. 

When short ends of worsted are used, it takes longer, and 
must be trimmed in the same way. There are three or four 
other simple twists, given to the short ends of worsted, by the 
Orientals in making their rugs. The finish on all edges is 
usually tapestry weaving; and the flax twine, plain weaving, 
constructs the real web and pushes fast the knotted ends of 
worsted. 

Figure 52. The circular cross-section of the rug or 
wrapped stitch. 

The reverse surface might also appear on the outside of the 
basket. 



62 



PLATE XII 



PLATE XII 

53 





54 



siMttsjii tfi fttftg rrf iii ts:t^ 



d. 




53. Edge binding, 

54. Grouped binding. 



55. Diagonal binding. 

56. Palm or splint border. 



IV. 

BORDERS. 

" The important thing is that the end of beauty be gained 
without sacrifice of use, and without greater expenditure of time 
and labor than is justified by the purpose in view." 

Lewis F. Day. 

We have studied the possibilities of placing spokes, 
holding them securely at the center or edge, and weaving 
differently with a great variety of materials ; not less important 
is the final finish, which shall most securely form a border. It 
still remains for the original worker to experiment and choose 
wisely the finish, the surface, the start as related to the form 
and use of her basket. 

Borders vary according to the materials ; flat or round, 
large or small sizes, flexible or rigid; and according to the 
methods of weaving, the number of elements to be considered, 
and the size and proportion of border desired. They may be 
made with weavers, with spokes, or with both. All ends should 
be concealed. 

Always be sure that the spokes are cut even length, 
moistened and sufficiently pHable to pass easily over the first 
finger, before you begin. Allow very generous lengths for 
borders with reed spokes (4< inches to 20 inches each). Never 
cut any spoke until you are sure that after the work is dry, 
enough has been allowed for a good firm finish. You can trim 
after they have been thoroughly dried. On the other hand, 
avoid leaving the spoke-ends too long, as they will interfere 
with each other and fail in neatness. When working with 
heavy, large-sized round reeds, as in scrap-baskets, a small bit 
may be shaved out of the spoke (next the basket) to allow it 
to bend more readily. 

65 



BORDERS 

If any spokes break, cut them off close to the work; point 
a new piece of reed and insert it more than an inch in the 
weaving, cut even with the other spokes in length. Make 
working drawings of the variations. 

WEAVER BORDERS. 

Figure 53. The edge of a basket may always be bound 
with raffia, cane, fine reeds or splint fillers. This finish is 
usually preferred for flats, splints, reed-winding or fine reed 
spokes (which latter may have been twined with raffia). The 
spokes are either turned in or cut short, so as to be completely 
hidden by two pieces of splint or reed-winding, one carried in 
front of the spoke-ends, and the other behind them. These 
strips overlap on different sides of the basket. The weaver-end 
is concealed and held between these strips. 

The fingers should press and hold this work hard and firm. 
If raffia is used, it may be threaded in a needle and sewed 
smoothly over the edge, piercing the spokes. End each thread 
between the flat binders. 

For cane, splint fillers, raffia (where no needle is used) wind 
smoothly over the outside strip (where the spokes interfere) 
and between spokes, bind firmly both strips together. To 
finish the ends use the extra loop of raffia or string about 6 
inches long. Double this next the outside splint with the 
loop-end at the point where the finish is to be. Bind over the 
loop-ends and the strips of splint ; when the loop is reached, 
insert the weaver-end loosely, pull the cut ends of the loop, 
and the weaver will take their places under the binding and 
can be trimmed off. 

FiGUKE 54. The Chinese and Japanese often use a border 
of hard pieces of bamboo, securing this by a few windings, 
some distance apart. In order to carry the fine cane binding 
from one group of stitches to the next, it is wound evenly about 
a small twine or very fine reed, carried along the upper edge of 
the basket. At the given intervals, the long stitches firmly 
bindthe strips and the string to the basket. Hold very firmly. 

66 



BORDERS 

FiGUEE 55. Another method of finishing a weaver border 
(fine cane or raflSa), is often used by the Japanese as well as 
the North American Indians on twined baskets. The effect 
is of a continuous over-lapping cross-stitch. Keep the length 
and slant of the stitches uniform. In the diagram, the light 
strips represent the cane carried upward to the right, and the 
dark strips, the return of same toward the upper left edge; 
carry the weaver straight down at the back. Use the extra loop 
to secure the end; start new weavers between the strips. With 
care a variety of intricate patterns are possible, and handles 
for bags, teapots, baskets, are very successful. 

At intervals the direction of the windings may be reversed, 
single or double. 

A similar effect may be produced without the horizontal 
strips, by braiding with three or more strands of reed over 
the reed spokes ; hold very firmly. Triple twist in many 
varieties also may form a border. Diagram 46. 

Splice carefully the ends of the weavers. With the braiding 
and twisting it is best to turn in the ends of the spokes before 
attaching these weavers. 

BORDERS WITH FLAT SPOKES. 

For straight weaving, with spHnts, flags, palm-leaf, spokes 
thin and flat which will not easily crack when moist, fold and 
crease down straight close to the last weaver. Use always the 
underneath spoke to carry over the outer weaver and let the 
end hide and hold under the previous weaving. Turn, and 
work in the same way on the other surface. The spoke-ends 
cross two rows of weavers, and this extra emphasis is all the 
finish or border effect possible. 

Or, an extra horizontal strip of splint or round reed may be 
carried all the way round for the spokes to loop over. 

With palm-plaiting, where the strips cross each other 
diagonally, either the two strands fold over a fine reed in a 
straight line (bias to the edges of the strips), and each strand 
pushes under the weaving for a short distance when the ends 
are trimmed off ; — 

67 



BORDERS 

FiGTJEE 56. Or, cut the upper, crossing, light strand 
straight across and let the strand from the opposite direction 
weave down over this (dark side) into the web; draw tight and 
trim. Do not cut any strip until you are ready to bind the 
crossing one firmly over it. After this plain finish, the palm 
basket edge is usually rolled over, and must, therefore, be 
generous in height at the finish, to allow for such a hem. The 
hem may be moistened and pressed flat against a wooden form. 

SPOKE BORDERS, ROUND REEDS. 

The spokes may be odd or even in number. Cut a generous 
length, experiment with a few, determine the required length 
and point at the ends. Moisten the spokes, and work your 
thumb and finger firmly over each until it is phable and able 
to make a graceful loop. Avoid too long loops. 

Figure 57. Simple loop border. Insert each spoke next 
a succeeding spoke one inch under the weaving; the last spoke 
next the first. Spokes may Ue under the next spoke, or over 
it, toward the right or toward the left ; but, once started, are 
placed uniformly. If drawn close, the effect is of no border, 
extra pieces of reed may be inserted to make an elaborate finish. 

Before turning for the loops, extra stakes may be added, if 
the ends enter the weaving for at least one inch. Make a ribbon 
loop. 

A variety of effects are possible when each spoke is carried 
beyond the next one. 

Alternate spokes may be long and short. 

The looped ends may return to their own side in the weaving 
either free or after going around the next spoke. This border 
is so simple it is important that its relation to the solid portion 
of the mat or basket should be carefully determined and the 
position and curve of the spokes be absolutely uniform. 

Figure 58. Rolled or rope borders with round reed spokes. 

This simple method of rolling the spoke-ends has an even 
greater variety of possibilities, and can also be applied to splint, 

J, raflia, reed-winding. Each spoke all the way round is 

68 



PLATE XIll. 



PLATE XIII 




57. Looped spoke border. 58. Rolled spoke border. 

59. Madeira spoke border. 



BORDERS 

carried behind the next spoke on the right, and then out toward 
the worker. The last spoke comes out thru the loop made by 
the first one (in a circular weave). 

The roUed spokes may proceed from left to right or from 
right to left; they may be carried behind the next spoke, in 
either direction, and then out ; or they may be carried in front 
of the next spoke in either direction and project inside the 
basket. The spokes may be directed from below up, or from 
above down. Always a spoke-end should appear over every 
spoke in the basket. These may be cut slanting either inside 
or outside the basket ; or, allowing greater length, may continue 
to form a more elaborate border. 

A group of spokes may be added beside each spoke and the 
group treated as one spoke. 

An attractive finish is to carry long ends (grouped) from 
a rolled edge down the outside of the basket ; and near the base, 
insert them into the side weaving; or, if you prefer to make a 
low standard, let two rows of fine pairing hold the ends in place. 
Turn the basket upside down, carry each spoke over the next 
and thrust it behind the following spokes, toward the center, 
where it is trimmed off. The last group goes over the first and 
out behind. Be sure the ends have dried before cutting. 

A shorter finish for the simple rope edge is to fiU in the rope 
more completely and carry the last end over the next loop and 
then out to be trimmed, or carry the end under the next loop 
and cut slanting on the inside of the basket. 

In place of carrying each spoke behind (or over) one (the 
next spoke), let each pass in front of or behind two, three or 
more spokes, uniformly, for one row. The last spoke-ends 
come under the first spokes, next the succeeding spokes in the 
basket (where the row started). 

Allow long enough spokes, and this rope coil may be repeated 
two or three times. The twists may run all in the same, or 
some in opposite directions. Conceal all the ends. 

When this roUed finish is apphed to palm, splint or 
reed-winding spokes, the ends must be shaved thin. Cut a little 

71 



BORDERS 

over an inch beyond the weaving and pass diagonally over the 
next spoke (on the right or the left), and trim inside the basket. 

Sometimes a fine round reed is placed so that the spokes 
turn over it and the edge is thus more securely held. 

As in our construction, we have winding, weaving, twining, 
braiding, so we can braid the spoke-ends in succession, one over 
the others. Groups of reed are always more effective than 
single spokes, and extra pieces of reed may be inserted to form 
them. 

Figure 59. The Madeira Border often forms the entire 
side of the basket, and the extra spokes enter the base. Allow 
generously for the interlacing, when you cut the spokes. Hold 
the spokes out at the desired height for the border, then turn 
and weave over and under to the bottom, across the next spokes. 
At least 3 inches of the spokes should project outside, all the 
way round; one group-end beside a spoke-group in the basket. 
The weaving can proceed from right to left, or from left to 
right ; over, under, or under, over. Place each group as carefully 
as possible from the start and it may cross any number desired. 
If the spokes are of fine reed, and the finish comes close to the 
weaving of the basket or mat, the ends may be reversed once 
or twice for two rounds of the rolled finish, and the points 
trimmed so that they are concealed. 

If large reeds are used or the groups carry to the base 
of the basket, two rows of pairing should hold them firmly in 
place before the rolled finish. A single turning back will carry 
the spokes under, toward the center, to be trimmed. 

The Madeira weave may be open or close, and can, if tied 
while moist, retain a variety of shapes. 

A group may pass over the next two groups, under two 
groups, and then over and under one, and out. Or, a group may 
pass over three groups, under and over two groups and then 
under, and over and under one group. In other words you 
can vary the plain braid and skip as is most effective. 

Figure 60. The cycle border is a variation of the rope or 
rolled border. Carry 1 under 2 and out, 2 under 3 and out, 
3 under 4 and out, 4 under 5 and out. Carry 1 over these and 

72 



PLATE XIV. 



PLATE XIV 



60 



ffl^l^ 



t5 2 





•a! y' 

60. Cycle spoke border. 61. Shell spoke border. 

62. Flat braid border. 



BORDERS 

behind 6, out between 6 and 7. Bring 5 down next 1. Carry 2 
behind 7 and out, 6 down with it. Continue thus, until A goes 
behind 4, left of S, B goes behind 5 out to the left of 4. The 
reeds may be long enough to allow a second border or finish, 
which entirely conceals the ends. 

Figure 61. The shell border of round reed spokes. A 
and B are simply brought forward, or down over the top of 
the basket, held in the left hand. With the right hand carry 
A over B and up inside the basket between 1 and the next 
spoke. Bring forward 1, 2; hold, carry 1 forward over 2, 
up between 3 and 4. Bring S forward over 1. Carry 2 over 
3 and up between 4 and 5. Bring forward over it 4, and beside 
it 1, which is now finished under 3. Carry 3 over 4 and 1, 
between 5 and 6. Bring forward 5, and from inside 2. Carry 
up 4 over 5 and 2, between 6 and 7 ; bring down 6 and 3, and so 
continue around the basket. At the end, A over B, under 1, is 
carried down beside 2 under 1. B carried under A, over 1, 
under 2, finishes beside 3 under 2. 

If a larger number of spokes are brought forward at first, 
carry the left spoke over and as more reeds are used the shell 
will be larger. One spoke-end is always dropped outside, under 
the shell and close beside a spoke in the basket. 

Figure 62. The flat braid border should lie at right-angles 
to the sides of the basket. Bring forward and hold spokes 
1, 2 and 3 ; carry 1 over 2 and 3, to the right of 4, inside the 
basket. Bring down 4 over 1. Carry up 2 over 3 and 4, 
between 5 and 6 ; bring forward 5. Carry 3 over 4 and 5, 
between 6 and 7. Bring forward 6 and then carry 1 (inside) 
over 2 and 4, down beside spoke 6. Carry 4 up over 5, 6 and 
1, between 7 and 8. Bring down 7 and 2. Carry up 5 over 
6, 1, 7 and 2; between 8 and 9; bring down 8 and 3. Now 
carry up 6 and 1 over 7, 2, 8 and 3, between 9 and 10. Bring 
down 9 and 4. Carry up 7 and 2 over 8 and 3, 9 and 4 between 
10 and 11. Bring down 10 and 5. ^ Carry up 8 and 3 over 9, 
4, 10 and 5, between 11 and 12. Bring down 6, 1, 12, and 1 
is finished, as 9, 4, 10 and 5 pass over it ; work on with 12, 6. 
One spoke-end is now dropped beside each spoke in the basket. 

76 



\ 



BORDERS. 

At the finish A and B come down with number 1 over 
C, D, E, F ; A is finished. B is carried on with 1 over 2 and 3, 
under 4 next 6, finishes under 4 and 5. Carry G, H, over S, T, 
O, 1, B, A, under 2 down with 4, where H is finished and G 
works on with 4 and ends beside 9. Carry C, D, now over 
E, F, G, H, down wth 2, down to 7 and 2. Carry S, T, under 
3 ; work out with 5. E, F, are carried down with 3 ; E is 
finished, and F carried on to finish at 8 and 3. 

This, as is evident, calls for 10 inches or more of reed, 
when the spokes are fine and close together ; more, if the spokes 
are larger and farther apart. 



76 



PLATE XV. 



PLATE XV 







I //Ccjui 



66 




63. Close sewed stitch, cross-section. 65. Figure-of-eight, crosa-section. 

64. Long and short stitch, cross-section. 66. Knot or lace stitch, cross-section. 

67. Ray stitch. 



V. 

SEWED BASKETS. 

"The Greek worship or seeking was essentially of Rightness 
and Strength founded on Fore-thought. The principal character 
of Greek thought is not Beauty, but Design." 

John Rcskin. 

Coiled work differs essentially from reed work, altho some of 
the same materials can be used in both. We have in reed baskets 
many short free ends played over by the spiraUy ascending 
weaver. In the coiled basket, as in coiled pottery, we wind a 
continuous coil, which must be held by stitches as the pressure 
and moisture hold the clay. There are but few stitches, yet 
in many ways these can be varied and combined. 

Coihng is the great grandmother of modem sewing. The 
Indians make a hole with a thorn or sharp bone, and thru this 
direct their thread of grass or sinew. In modem sewed basketry 
we use raffia, a needle, and for the coil, twine, rope, raffia, reeds, 
grass. We can start with raffia, and later cover our coil with 
grass or insert a reed to stiffen it. In the close-sewed stitch we 
must always retain a little grass or raffia on the reed for the 
needle to pass thru. If the coil is of grass or raffia, new 
material must constantly be fed in under the last stitch to 
keep the coil uniform. 

Never use a knot to join the threads, except when absolutely 
necessary, as in ray stitch. 

Keep the work firm, so that one row can never slip up on 
another. 

Raffia must be kept for some time in a wet cloth. Never 
work with it full of water — it will stretch when dry. Keep 
the raffia smooth and glossy. 

Design forms for the baskets ; colored paper silhouettes 
or card models with desired curving sides. For patterns, use 

79 



SEWED BASKETS 

the point edge sheets and draw horizontal and vertical lines, or 
for round bottoms concentric circles. 

Plan for the width of the stitch to be half its height. In 
the lace stitch use the lines as a guide, but in close stitches fiU. 
in the spaces between the lines. 

Figure 67 on the plate gives us the simplest way of starting 
our coil. Use a bunch of raffia, cut ends even toward the right ; 
thread a needle with raffia (large end) ; place the fine end 
toward left over the coil, about 2 inches. Hold in the left 
hand and with the right wind away from you, and from the 
right, 4 or 5 slanting stitches. If the thread lies too straight 
and firm you cannot bend the coil. With your right hand 
twist this small end under; your thread comes from the center, 
where there should be no hole, and you proceed to sew over 
the two coils and into the center. Except in the ray stitch, 
figure 67, the first two coils may be closely covered. 

Figure 63. Close-sewed stitch with cross-section. As soon 
as the start has been satisfactorily made, round reed may be 
inserted under the raffia, and each row of stitches sews into 
this previous coil and thru the previous row of stitches. 
8-ply tubing (a rope of slightly twisted yarns), rope, or grass 
may form the coil, which the stitches completely cover. Plan 
patterns in a different color, avoid continuous unbroken lines, 
as the start and end are conspicuous. Broken line designs are 
best. Fold paper discs in thirds or fifths or sixths from the 
center. Cut patterns parallel to border and on radiating lines 
from the center, open the circle and notice how the units are 
distributed. Plan borders on squared paper, twice as high as 
width of stitch. 

Raffia of different colors can be carried on top of the coil 
and brought to the surface at any point, when the last thread 
returns to the coil. Start new thread in this way without 
knots. Keep the lines between the rows of stitches or coils 
clear, occasionally the raffia may wind about the coil if stitches 
keep the work solid. 

To finish off the edge trim your coil down as thin as 
possible for at least an inch ; let your stitches include this 

80 



SEWED BASKETS 

trimmed end and the last row of coiling below. Hide the end 
of raffia underneath in the coil. 

Figure 64. Long and short, strap, or lazy squaw stitch, 
cross-section. 

Two strips of Number 1 or 2 reed make a good foundation, 
easier to coil than the heavier reeds. Lay the end of raffia over 
the reeds as in ray stitch, curl the end under and sew close from 
the center. When once around, wind twice about the last 
coil and then take a stitch over the coil and the previous row. 
A great variety of designs are possible in one color if the mass 
for the long stitches is varied on the spaces for winding. It 
is not well, except when using flat reed, to wind more than 
1 inch without stitches. A variety of designs is possible with 
two or more colors of raffia. Plan the designs carefully on 
squared paper in order to have the eifect of the stitches clearly 
understood. Design borders for the sides of the basket and 
half-circles for the bottom. Fasten off the last coil, as in 
close-sewed. With this stitch sometimes a piece of reed long 
enough to go around the top of the basket is trimmed at both 
ends, so that a complete uniform ring is made. Let this be 
sewed over the finished edge and conceal all change in stitch. 

Figure 65. Figure-of-eight stitch, cross-section. Modem 
workers have named this the Navajo stitch, but the best 
authorities say that it was only used by Indians to border some 
baskets. It is undoubtedly the stitch most successfully used by 
our girls' fingers. It is more easily kept perfectly smooth and 
even, altho it takes longer, because each stitch thruout (except 
on the last row) works over a previous row of stitches. 

Work from left to right, after the start of the coil in the 
center with raffia or fine reed, or grass, bring the thread from 
the center over the last coil to the back between coils, up the 
back of the new coil, down over its front, between the coils, 
into the center, or under the last coil and so up again to the 
lower surface. Continue thus curling in the line of a figure 8. 

To join raffia, place new end on the coil, bind over it until 
the short end is turned under, and the new strand takes its 
place. Any number of colors can lie on the coil and come 

81 



SEWED BASKETS 

to the surface whenever a design calls for them. Remember, 
jour next row will completely cover the last row of stitches. 

Figure-of-eight stitch easily combines with any of the 
other stitches for new effects in design. It is the best way to 
start an oval basket or tray, whatever stitch may be used 
afterwards. Fold the reed back on itself the required length 
of the center. Start your rafHa with the coil at the turn, bind 
firmly and then form figure-of-eight stitch under one strand 
over between the two, down under, then over the second, down 
under and over the first. No needle is required until you turn 
at the corner and start the next row of stitches. Make both 
ends as absolutely ahke as possible. When planning for sides 
to your basket turn at the last or cut end of the center. 

Make designs on squared paper for borders and centers, 
Make card models for baskets. 

Figure 66. The knot or lace stitch, cross-section. This is 
most successful when only a small space lies between the coils ; 
in the diagram the enlarged drawing seeks to make the 
construction clear. As we are famihar with the long and short 
and figure-of-eight stitch, one can easily see if either of these 
long stitches were left a little loose the raffia might turn to 
wind about the stitch, between the rows of coiling, and thus 
make a firm bridge. The upper coil has the raffia wound 
closely about it, and at intervals a pattern is formed by these 
tiny bridges, which start either with two long stitches or two 
figure-of-eight stitches bound together. 

Attractive mats or covers can be made for caseroles, 
pudding-dishes, Boston bean jars, flower pots. 

Design carefully on the lines of squared paper. 

Different colors may be used, but generally one color is 
most effective, when form and pattern have received the most 
attention. 

The separate outer ring best finishes this edge. Any of 
the other stitches may be used for a closed bottom, and only 
the sides or border finished in the lace stitch. Boxes for collars, 
cuffs, handkerchief, gloves are easily made ; also, trays for 
pencils or jewelry. 

82 



SEWED BASKETS 

Figure 67. In the previous examples 63, 64, 65, 66, the 
coil has been entirely covered by stitches close together. The 
ray stitch, is worked like the close-sewed, but the coil is 
held by as few stitches as possible, and is the most beautiful 
part of the basket. Grasses, sedges, corn-husks, pine-needles, 
sweet-flags, rye or oat straw, or raffia covered with any of 
them, make excellent coils. The Kentucky blue grass when 
ripe, is a beautiful gold color, and the Maram or beach grass 
gathered in the summer dries in fine light green wires. The 
stalks of grass must be fine and very pHable, altho they usually 
require moisture in a damp cloth before using. Gather the 
grass in summer, clean off the roots and broken ends, and 
when you work with them, arrange beautiful colors most 
effectively. The corn-husks require to be laid straight and 
smooth over a coil of raffia or tubing. 

To sew the coils together use raffia, or heavy carpet thread, 
or from the North Plymouth cordage works, Plymouth, Mass., 
procure unlaid Manila hemp fiber. As this fiber has not been 
spun, eight or twelve strands may be necessary for one thread. 

After the first coil has been started and the stitches evenly 
spaced, continue to guide your stitches by those already in the 
work. Carry the needle into the coil, slanting under the stitch 
on the last row. Pull the thread firmly over the coil and first 
finger of your left hand. The loose end of the coil should 
remain free. As soon as any space between stitches becomes 
too wide, if the stitch below has too long a slant, make a new 
stitch in the coil. Let them radiate evenly from the center, 
but a curved line is more beautiful than a straight one. Keep 
the coil uniform in size by adding new material under the last 
stitch, whenever necessary. 

Notice that unlike the other stitches, which are the same on 
both sides, here we have a right and wrong side. For an open 
tray or saucer-shaped basket, keep the right side inside, and 
your needle working from that side thruout. 

If you are to make a bowl-shape, or one whose sides round in, 
let the center start be on the right side. Then at the completion 
of a few rows, opposite the first stitch, turn your work quite 

83 



SEWED BASKETS 

over and let the coil and stitches now work in the opposite 
direction. Two full rows should be completed before the 
basket begins to model up with your stitches now on the 
outside. Make all necessary additions in stitches here, so that 
new starts will not be required on the side of the basket. 

When joining the thread or raffia make a flat or weaver's 
knot close to the previous coil. Do not cut the ends off, but 
let them work in with the coil. The final end of the sewing 
should be entirely concealed. Gradually trim down the coil 
and let the last four or more stitches lie absolutely over those 
on the previous row; run the needle into the coil at the back 
and trim off. 

Make card models for delicate forms and arrange carefully 
any contrasts in color, as straw with pine-needles or corn-husk 
with grass. 



84 



PLATE XVI. 




PLATE XVI 



w3v?r^ 



•9 



«0 





70 



71 




72 



73 




75 



74 



W^ 




68. Two-strand chain. „ -, . 73. Diagonal free sewing 

69. Open chain. ^1. Loom weaving. ^^ g^^^ ^^^^ 

70. Daisy chain. ^2. Straight free sewing. 75 g^^^ ^.^3^^^^ 



VI. 

BEAD WORK. 

" To give peopie pleasure in the things they must perforce 
use, that is one great office of decoration; to give people pleasure 
in the things they must perforce make is the other use of it."" 

William Morris.. 

Bead or point construction offers, in the younger grades^, 
a special opportunity for counting, repetition of definite 
measures, and thus a dehghtful introduction and familiarity 
with good color. The simple stringing of beads in the first 
grade, includes repeating in alternation the same number of 
beads in two colors, different numbers of beads in two colors, 
different numbers for three or more colors. By looping the 
chain at given points you discover a variety of effects. With 
the plain stringing, make a necklace with an irregular repeat 
from the center. Bead necklaces form an excellent introduction 
to the later study of jewelry. 

Figure 68. A simple chain starts by tying on the first 
bead (which in bead work proves inevitable) ; a single dark bead 
is followed by a single light one, until the length is right. 
Leave the beads rather loose, return from a dark bead, string 
on a light one, thru the dark, and on a light one, until completed. 
Any number of beads may occur between the beads taken up. 
This can easily grow into a bag or purse, with or without a 
silk lining. Our grandmothers made exquisite collars in this 
way, definitely shaping them by count. 

Figure 69. This chain is worked with two needles, threaded 
on both ends of silk or cotton. Wax the thread. Instead of 
entering a given bead from the same direction in which it was 
strung, let the second needle enter the bead from the opposite 
direction and the needles cross in the middle. A variety of 
designs are here possible. 

87 



BEAD WORK 

FiGUEE 70. With a single string of beads we sometimes 
wish to carry the straight line and vary it with a flower effect. 
The daisy, or forget-me-not, have been especially successful. 
After the straight hne, string on eight white beads, carry your 
needle and thread thru the first white one in the same direction 
it was strung. Take up one yellow bead for the center, pass 
needle thru the fifth, or opposite bead, and string the plain 
color again. If you prefer, the needle may return thru 1, 
2, S of white, string on yellow bead, pass in opposite direction 
thru 7, 6, 5 and again the straight line. 

There are several other ways for constructing the flowers ; 
pupils can experiment with two or three threads. In all cases 
of stringing have the thread as strong as possible. Glazed 
Kerr's cotton, black and white, and ordinary sewing silk are 
good, but it is better to always wax these. With one strand, 
an occasional knot made in the thread helps the beads to lie 
loose and lightens the strain on the thread. The size of the 
beads determines the size of the needle, and this of the thread. 
Bead needles, finest size, are No. 16. If silk can not be found 
fine enough for smallest cut beads on canvas, use close twisted 
fine number of Battenberg lace thread. 

Fringes of beads should never have their threads cut at 
the bottom. Return the thread a second time up thru the 
beads to the heading. A loop, or a daisy, or a larger bead may 
uniformly or occasionally finish the ends of the fringe. 
Different color beads may be scattered thru those of another 
color. 

Block-building for design becomes the basis for cross-stitch 
patterns in embroidery, or is gradually evolved toward mosaic 
effects in the later grades on point edge paper. 

Figure 71. The simplest method of design, and, perhaps, 
for construction also, in all-over surface patterns, is to stretch 
warp or vertical threads on a card frame or on a simple bead 
loom. On the card the threads may exactly fit the dimensions 
of the piece of work when finished. If a loom is used, the cut 
ends of the warp will have to be fastened off and bound in 
some way. Make your design on the squared paper, let a 

88 



BEAD WORK 

thread of warp represent the vertical lines between every two 
beads and on the edges. These threads may be a Kttle heavier 
than the silk or thread you sew the beads with. Tie the sewing 
thread, weU waxed, to the upper left warp strand. String 
on it the beads called for in sequence, from left to right on 
the uppermost row of the design; carry the thread under the 
warp a bead between every two strands. Bring the thread over 
the right warp end and pass the needle back thru each of the 
beads in succession. Each warp thread will be crossed by two 
weft threads, one above, one below, held by the beads. Chains, 
four or five beads in width, with repeats of small units, are 
good exercise in design for the third grade. If the beads are 
strung on in the beginning the warp may carry them at 
intervals between the close weaving. Purse, card-case, book 
covers, candle screens and lamp screens may be made, as well 
as belts, chains, etc., etc. Study color effects closely ; some of 
our imported porcelains or pottery often given beautiful color 
schemes. Extra beads may, if desired, give a pico edge effect 
to the solid surface. 

FiGTTEE 72. The same method of design may be applied to 
the free weaving or bead work without a loom. String up the 
first row of beads from left to right, tying the first bead on the 
left. The design in No. 71 might have an odd or even number of 
spaces across — here one works best with an even number. 
String on the first right bead on the second row, carry thread 
thru the next to the last bead on the previous row; string a 
bead, carry thread thru below and Avith an even number the 
needle will hold the first bead before returning to fill in the 
second row. One thread carries straight, and the other 
alternates between two rows. Extra beads may be added on 
the edge for pico finish. Design on the straight squared paper ; 
in the younger grades the children can make articles with 
large sized E beads, and in the upper grades use the fine cut 
glass ones. There are no ends of thread to be considered, as 
in the warp strands above. When threads are to be joined, 
sew thru several previously secured beads, make a weaver's 
knot, figure 93, and let the last end pass thru several beads 

89 



BEAD WORK 

before trimming off. After a center has been constructed, a 
border may be worked, carrying thread and stitches all the 
way round, then the side beads will he in the opposite direction. 
The play of light and shade on beads thus placed is noticeable. 
Fine wire may be used instead of thread in this construction. 

Similar to the last in construction, but different in design, is 
the diagonal free sewing. No loom is used. In the design the 
squared paper is turned diagonally, and very different effects are 
produced from figures 71 and 72. Every alternate bead or space 
is on a Hne, but the spaces between halfway above and below. 
In the younger classes, experiment for effects with the beads ; in 
the higher grades, make good designs before starting the work. 

String loosely an even number of beads, add one bead for 
the right second row (two beads at the end or turn). Carry 
the thread thru the next bead, string on one, and so on to the 
first bead. Turn and alternate, taking on bead and passing 
thru one on the last row. Design chains, bags, purse and 
card-case covers, screens, belts, etc., etc. Wire may be used 
instead of the waxed thread. 

Figure 73 gives us the adaptation of diagonal sewing to 
the daisy chain. After one white bead appears on the right 
edge for the lower petal in the daisy, and one white bead on 
the next row at the left, inside it; string on one white and 
one yeUow as your thread comes thru the lowest white petal. 
Carry thread thru the left white, work to the left edge and 
back; next time, after passing thru the yellow and previous 
white, string on two white beads, enter the upper white bead 
on the left and so on across. If the beads are too irregular 
for this construction, the four inner beads of the petals and 
center are sometimes finished before the thread, as it comes 
thru the upper white bead, strings on four white beads for the 
outside, carries thru the lower white petal and works back to 
the upper bead again. 

These little flowers may be scattered thru the chain in 
many different groups or ways. Sometimes there is no ground 
work and daisies fit close from opposite edges. In the upper 
classes make a good design before you begin. 

90 



BEAD WORK 

Patterns of single units of beads may be scattered over a 
background of silk or canvas. Design carefully on point edge 
squared paper, sew the beads on and study best effect as to the 
direction of thread as each bead is sewed one at a time. 

For all-over bead-work on canvas, etamine, etc., the waxed 
thread should be worked the reverse of ordinary cross-stitch 
on Penelope canvas. On the upper or bead surface carry the 
thread straight, vertically or horizontally, according to the 
best effect for the beads. Underneath let the stitch slant 
diagonally. If you cannot keep the direction uniform when 
you work over and back, fasten the thread each time and work 
always from left to right, or vice versa. If the beads are so 
irregular that the canvas shows thru in spots, with strong 
water color, you can stain the canvas from the back. BrilUant 
colored sewing silk varies color effects in transparent glass 
beads. 

Beads of one color may be strung on silk thread for 
knitting or crochet before the looping is begun. With a plain 
or fancy ground, as the design calls for it, let a bead be pushed 
in front of the needle before the next stitch is made. Design 
on fine squared paper; in double or triple crochet two or more 
beads may be required for a stitch. This is good work, simple 
in design for belts, bags, etc., etc. 

When the knitted or crocheted bag is to have an all-over 
pattern elaborately designed on fine squared paper, like our 
great grandmothers' exquisite bags and purses, make a very 
careful design. From this design count and string beads 
carefully, row after row, so that no mistake can be made in 
placing of any bead, then proceed to knit or crochet, pushing 
always a bead forward at every stitch. In mending bead bags 
use the vertical threads and Jersey stitch with bead over it, 
as in diagram for wrapped stitch, 50. 

Leather is a most dehghtful background, apart from the 
primitive colors and geometric designs of the Indian work. 
The latter is most successful and interesting in its use of 
stripes or bands of five beads. The spacings between the 
stripes are very effective and their division of the continuous 

91 



BEAD WORK 

line into broken parts. Sometimes only one color is used (for 
this, turquoise seems the favorite) in the beads, but where 
narrow bands edge the moccasins, bags, belts, etc., simple 
patterns are most effectively worked out. 

The bands of ornament on the Egyptian mummy cases are 
suggestive for such designs, and the color is rich. 

The silk for sewing should be waxed, but it need not go 
thru the leather or show on the other side. 

Leather hunting bags, vests, etc., are often covered all 
over with the stripes, but a civiHzed man would find such 
garments rather too heavy for comfort. 

When you prefer to fill a space sohdly and use neither 
knitting, crochet or cross-stitch, make your design carefuUy 
on fine squared paper and use some strong fabric or leather as 
a foundation. Stretch your thread from the left; where it has 
been fastened, string on the beads from the design in sequence 
from left to right, first row. Pass your needle into the leather 
on the right, do not crowd the beads too close. Bring your 
needle thru the leather under about five beads, then to the 
surface, carry it thru a few beads and again under the next 
group thru the leather. String each row from the left and 
fasten on the return from the right. There should be no break 
in the line or surface of the beads — all lie perfectly smooth, 
and avoid overcrowding. Large medallions or designs with a 
rich variety of color, can thus be effectively worked on leather 
bags, pockets, etc. 

In smaller designs on leather the effect is often better when 
the direction of the strings of beads vary. Design freely 
without squared paper, transfer the design to the fabric or 
leather. String the outer Hne of beads, or any special group 
you wish, fasten the beads, as before, running the thread under 
the leather then up thru the beads. Place row next row as 
the design requires. 

Sometimes in all-over design, the border or special parts 
may be worked in different ways from the background or other 
parts. This does not imply carelessness, but requires increased 
thought fulness and great care in applying the design. 

92 



BEAD WORK 

FiGtjEE 74. In the lower left comer of the plate is a method 
of finishing the edge of leather or cloth with beads. At first, 
string on three beads, stitch thru the edge from the back, carry 
your needle thru the last bead, string on two more and repeat. 
More elaborate edges may be designed with more beads. 

Edges of leather as on bags, pockets, cases, flat or edge 
seams, can be effectively bound with stitches close together, 
carrying four, five or six beads, which make a very solid 
binding. Indians vary this by changing the color of the stripe. 
The ends of leather thongs used for lacing, or as a draw 
string, may be thus finished; also the heads of tassels. 

A single bead sewed over the edge at close intervals, 
protects leather and prevents its tearing or stretching. 

Instead of punching holes or cutting leather for a draw 
string, the bag may have short bands of beads, at regular 
intervals, for the string to run thru. It is best to use fine 
wire rather than silk, but it can pass thru the leather and is 
nowhere evident. 

Groups of beads in a straight line, vertical or horizontal, 
at scattered intervals, below the cut upper edge of the bag, 
protect it very much if you do not wish to have a bead binding. 

FiGUEE 76. With fine wire, such as florists use in short 
lengths (the spool wire must lose its curl), rosettes of beads in 
great variety can be designed for buckles on belts, ornaments on 
bags, bottoms of baskets, etc., etc. At the Natural History 
Museum, in New York, a large collection of Mexican bead 
work includes many rosettes which might serve as watch 
pockets with silk linings. 

The wire can be joined easily by twisting one thread over 
the other and then drawing up and concealing the join under 
the beads. 

The beautiful rose windows in European architecture, and 
exquisite lines in medalions of lace, are fuU of suggestion for 
design. A third-grade class with large E size of beads, two 
colors, will be able independently to produce a great variety 
of inventions. 

93 



BEAD WORK 

As pockets and bags, moccasins, etc., are important among 
objects made in leather, pattern-making during the application 
of these problems in design, should include careful designing 
and making in paper or muslin of bags, shoes, purses, pockets, 
of every description. Caps and mittens might easily come 
under the head of bags ; inventions in this direction disclose 
the origin of most of the picturesque, yet simple peasant caps 
of Europe. 



94 



PLATE XVII 






77 



do 

76. Horizontal loops. 77. Vertical loops. 



PLATE XVIII 




7d 




78. Simple running knot. 

79. Loop knot. 

80. Slip loops. 



SI 




63 



81. See-saw chain. 

82. Two-fold knot. 

83. Fisherman's knot. 



VII. 

KNOTS. J} 

" It is more than probable that some mechanical necessity 
gave rise to all geometric pattern; certainly it is impossible to 
plait, net, knit or weave, or otherwise mechanically make with- 
out producing pattern. It may be infinitesimally small, even 
invisible to the naked eye, but it is there; and out of the deter- 
mination to make the best of it has grown much of the most 
beautiful pattern-making." 

Lewis F. Day. 

Having practised with flexible, passive vines and grasses, 
weaving about fixed stakes in fence-making and basketry, it 
is quite natural that men learned to twist fibers and spin for 
themselves endless threads. A long playtime with these has 
developed a wonderful variety of construction. "Knots," we 
say, "are as old as fingers," but as we separate and examine 
the wonderful lace-bark, or the curling wool on a sheep's back, 
it may be Mother Nature really contrived them long before. 
In "Mr. Isaacs," by F. Marion Crawford, we read, "It is 
singular how the unaided wool can tie itself into every kind of 
a knot : reef, carrick bend, bowline, bowline-in-a-bight, not to 
mention a variety of hitches and indescribable perversions of 
entanglement." 

The Old Testament tells of nets and snares, and Homer's 
travelers secured their treasures with intricate knots, fore- 
stalling the invention of locks, safes and padlocks. The string 
with a knot in it may have preceded a consciously constructed 
nail or screw. The witches of Lapland sold to sailors "wind 
knots," tied by enchantment in ropes which when untied, were 
warranted to cause certain winds to blow. Knots were used 
in South America, and among some Western tribes in North 
America, as a language thru which to send messages from one 
chief to another. The strings were of different symbolic 

97 



KNOTS 

colors and each knot had its own significance. To-day, I am 
told, Japan has an elaborate code of etiquette practised thru 
knots, which convey messages of condolence or congratulation. 
The East, both in China and India, furnishes us with beautiful 
decorations in silk^ heavy cords for temples, and trappings for 
horses. Many of these, perhaps the Crusaders brought to 
Europe, for we find them in stone, Celtic crosses, architecture, 
wood, scrolls, illuminations, iron work and heraldry of the 
Middle Ages. 

Fringes and knotted garments were worn by Assyrians and 
Egyptians, as their stone walls tell us, but the true art of 
lace-making is a late development, and arose from the 
manufacture of fancy gimps and galloons used to border the 
brocades and heavy draperies of the 15th and 16th centuries. 
Macrame lace originated with the Moors, Needle lace with the 
Venetians, and Bobbin lace in Belgium. These have developed 
independently and thru them, the art of design so exquisitely 
cultivated, has insipired the most beautiful decorations in 
stone and iron, etc., etc. 

Sailors, builders, fishermen, weavers, basket-makers, as 
well as conjurors, have constantly practised a variety of knots, 
which, to-day, are not neglected in the training given to our 
navy and army men. 

We have in ropes or string a Hne with two ends or points, 
and a continuous stretch between them. The first end (usually 
fastened) sailors call the "standing part" of a rope, and the 
"bight" lies between this and the "end." A knot is an 
interlacing of string over itself, used to shorten, to strengthen 
or to decorate. A tie is the crossing of two ends in a knot 
to join them together, used to hold them fast, allow one to 
slip, or also for decoration. 

Fibers slightly twisted form yarns ; two or three yarns 
form a strand, three strands usually a rope, three ropes 
or nine strands, a cable. If the elements have been twisted 
toward the right the next combination twists toward the 
left and vice versa. In shroud laid rope, three strands 
are laid about a fourth or central strand. There are 

98 



KNOTS 

also solid and hollow braided ropes — the latter in cotton lacers 
is the best strand for children's work. Children can make a 
cord or rope with any number of strands. Let two of them 
take the ends, stand as far apart as possible, each twist his end 
in opposite directions, and the teacher's finger often run over it 
to keep the twisting even ; especially, after the two ends are 
knotted together and the cord begins to creep up. 

A knot usually constructs for strength, but it may be 
inflexible or elastic ; and two or more ends may be so tied as 
to form chains, surfaces, bags ; or, in looping, may net, knit 
or crochet a great variety of coverings in different shapes. 

More or less space intervenes between knots, and therefore 
in designing for these subjects, use the point edge cards, 
dividing the surface into rectangular or diagonal lines, and 
working on these lines for the stitches. 

To register a curved Hne or loop, we start with the fixed 
relation of two straight lines, vertical and horizontal, crossed 
at right angles in the center. To make a circle, start at a 
given point or distance from this center, multiply the number 
of points by infinity and carry the line round until it looses 
itself in its start ; and there is no beginning or end ever after. 
In loops "the end," as the sailor says, "crosses over the 
standing part ;" we notice the direction from which our line 
started, and that toward which it is travelling. The simplest 
loop may assume one of four vertical or four horizontal 
positions. 

Figure 76. In figure 76 we have (in the upper left corner) 
a horizontal, left, overhand loop ; next, a horizontal, overhand 
loop toward the right. Below on the left, an underhand, 
horizontal loop toward the left and a horizontal, right, 
underhafid loop. 

FiGUEE 77. A vertical, left, overhand loop ; a vertical, right 
overhand loop ; a vertical, left, underhand loop ; a vertical, 
right, underhand loop. 

We start always from the center and name the overhand, 
underhand loops according to the directions they assume. 

99 



KNOTS 

From the teacher's drawing on the black-board the child 
can, in the primary, with paste-brush and string, describe 
circles and loops on folded paper; in the older grades, name 
the drawings, made with crayon, brush or pen. 

Figure 78. The simple running knot, "around, over, under 
and out thru the loop," may vary as to eight directions. The 
sailors' description is to "pass the end of the rope over the 
standing part and thru the bight." Besides being drawn 
from the standing part in any direction, it may also be carried 
"around, under, over and down thru the loop." In the youngest 
grades heavy cord, rovings or lacers may be given the children 
to divide in halves, quarters, etc., and a knot made at each 
point. Take a longer string and make knots an even distance 
apart, measured first by the fingers and then by the eye. Pull 
tight when in the right spot. A two-strand running knot may 
tie the ends together and thus form a chain or lanyard for 
whistle or knife. This is the simplest knot for making dolls' 
hammocks or bags with rafl5a, cord or lacers. A double loop 
knot is formed when the loops pass thru the bight. 

Figure 79. If the loose end is doubled, and pulled thru 
the simple running knot, we have the simple loop knot. In 
the younger grades this is the beginning of the looped or 
crochet chain. Children like at first to use their fingers 
(especially with cotton rovings) and as each loop is finished, 
draw another loop thru it ; until "the end" passes at last. 
Whistle chains, horse-reins, etc., are interesting. In the third 
and fourth grades a hook may take the place of fingers and 
crocheting developed. A simple problem is a cotton crochet 
net edge to a doyley. The border may be designed with 
different sized nets of chain-stitch. Design on the half-circle 
and on the square with straight and diagonal lines, and do 
not let the line be broken or removed from the paper. When 
desired, any spaces may be fiEed with triple crochet stitches. 
From simple pattern-making in the third and fourth grades, 
dolls' sacks, shirts, caps, children's mittens, and slippers of 
wool may be made. Be sure the child makes the paper patterns 
and conforms the simple stitches to the shape. Last of all, 

100 



KNOTS 

wonderful designs in Irish lace are possible. Crocheted silk 
bags or purses are delightful problems for the high school, 
with designs of colored stripes and simple repeating units. 
Beads may be used as suggested in the Bead chapter. There 
are many books on crocheting published by the manufacturers 
of wool, cotton or silk yarns and threads. Choose wisely what 
is educational. 

Knitting in the second grade may again attempt a long 
chain with the heavy cotton rovings. Two fingers at least 
must have the thread hitched about them, pass the roving 
above one loop, which slips over it ; the next loop again passes 
over the roving, and so back and forth. This is the beginning 
before the spool or toy knitter. Children may bring from the 
woods or the work-shop, a small two-pronged stick, or may 
bind three sticks together with raffia very smoothly, so that 
two points project beyond the center. Watch chains, or fan 
chains can be made with silk or mercerized cotton. 

In the fifth grade use two needles of steel, bone or wood, 
according to the size of the yarn or the mesh in knitting. 
Diagram 50, without the vertical lines, gives a fac-simile of 
plain knitting. Purling and plain knitting, knitting two 
stitches together, and winding thread over the needle, give 
us different patterns. Design on point edge squared paper. 
For purses, pockets, etc., etc., different colored stripes may 
be designed. 

For setting up knitting there are many different directions ; 
the simplest, loop one stitch at a time on the left hand needle 
which the right hand needle knits off. For mittens and 
stockings, etc., four needles should be used. 

Manufacturers of threads supply many knitting books 
with patterns. 

FiGUEE 80. The slip loops, Macrame knot or beading, so 
constantly used in that lace over a foundation-cord. 

After winding thread on a bobbin, it slips once thru in this 
way, to prevent the thread unwinding too fast. 

With cotton lacers, children in the second grade, can make 
mats or baskets either with or without a foundation strand. 

101 



KNOTS 

As in crocheting, if the tip enters under the crossing strands, 
the work holds more firmly. The increase of stitches for a 
circle may be planned: every other row make two new stitches 
in one of the last row; the alternate row plain. Or, once in 
three stitches, an extra stitch added; or, at four or five points 
always increase on each row. 

A great variety of stitches are possible, with different sized 
loops and groupings, all that needle point and tape laces have 
successfully developed in fine threads. Mrs. Walker, of 
London, in her "Occupations in String Work" (MacMillan 
& Co.), has elaborated a course thru all the grades, giving a 
successful evolution of problems in Macrame lace. The 
different bars, spiral, Genoese, etc., are excellent for handles 
for knotted bags, and may be easily evolved by experimenting 
with cord over heavy reed, for children's home practise. A 
uniform repeat of any simple looped effect is good, and two 
strands make heavier handles or bars. 

With a needle and thread, this simple blanket stitch has 
been used largely in cut work, embroidery or Roman lace. A 
working drawing proves this stitch the same as the Mohave, 
wrapped or Cashmere weave. 

After the experimental stage, apply all this work to 
carefully made designs. 

Figure 81. The see-saw chain is a simple development with 
two strands, each alternately looping over the other. Useful 
in heavy silk, or mercerized cotton, for fine chains ; in raffia 
or cord, for Macrame lace bars. 

Figure 82. In the twofold, three or more fold knots, the 
"end" crosses twice or more around the "bight" (or first loop) 
before nipping or drawing tight. It is useful for stopping a 
rope or cord from passing thru a hole ; for decoration on a 
single strand, or as a French knot in thread or cord on paper 
or cloth. 

Figure 83. The fisherman's knot, for joining two strings 
or in reed work, for decoration. Make simple running knots 
with the end of one string over the end of the other. End 1 

102 



PLATE XIX. 



PLATE XIX 




84 





84. Figure-of-eight knot. 

85. Harness hitch. 

86. Bowline-in-a-bight. 



a? 





87. Standing bowline. 

88. Square knot. 

89. Looped square knot. 



KNOTS 

ties over string 2 and 1 ; end 2 ties over string 1 and 2. Extra 
strings may be introduced between the knots. Draw the long 
ends tight, and the greater the strain, the better the hold. 

Figure 84!. The figure-of-eight knot, sometimes caUed the 
military knot, is used largely in decoration ; with braid on uni- 
forms ; in reed work ; and in heraldry is carved on many 
cathedrals in Europe. Cross over the standing part, continue 
Tinder it and return thru the first loop, forming a figure-of-eight. 

FiGUBE 85. The harness stitch holds tight as a loop and 
is decorative and simple to construct for shortening. The 
small drawing within shows the first step. From the lower 
right end make a large vertical, left, overhand loop, carry 
the end diagonally under it to the lower left corner. Pull the 
lower larger half of the circle (which lies below the crossing) 
up under it and out over the top of the loop. 

FiGUEE 86. The bowline-in-a-bight is another firm loop 
if properly pulled with a Httle jerk, which prevents the strands 
from lying too straight at their crossing. Work with the 
doubled or loop end of a strand. Make a small left, vertical 
underhand loop and bring the doubled or loop-end up thru it. 
Now carry the whole knot thru this loop, or as sailors say, 
"cast the bight over the whole." Pull tight on the larger loop. 

Figure 87. The standing bowline is constantly practised 
by seamen and should hold firmer, the harder the strain. In 
tying up parcels it is useful, and wherever a strong loop is 
required. The upright end is here the standing part. Make 
on this a small vertical, right, underhand loop, weave the end 
up thru this, out, under the standing part, then down into the 
loop, and pull tight the larger loop. 

Figure 88. The square knot may be made with two ends 
of one rope forming a loop, or it may tie two ropes together. 
The right upright strand is the standing part; pull on this 
and carry the bight next up and then down on the left. Form 
the lower loop, or bring the other end, under the standing 
part, over the bight, under the whole and above over the 
standing part and thru the left loop. This is decorative for 
use in braids or reeds, and holds tight. 

105 



KNOTS 

FiGUEE 89. The double-loop square knot is used a great 
deal in India and China for decoration, and in Europe we find 
it in heraldry, stone carving and wrought iron. The standing 
part is on the upper right. Make a small, underhand, right, 
vertical loop ; with the end make a loop on the left. Loop a 
second time toward the right and slip this last thru the smaD 
vertical, underhand loop. Carry the end now from the middle, 
under the left loop, over it, and down thru its own bight. 

There are many simple nooses used by sailors to fasten 
ropes around something. In most of the knotted work for 
bags, lace, etc., the strings are fastened to a line or ring. The 
bags may start from a small ring at the base; several small 
rings, or one large one, at the top ; from a foundation cord 
or from two sticks, for the top. The finish at the opposite 
end must be planned before the bag is started. Let the 
children experiment with nooses and slings. 

Figure 90. The knotted-on loop in Macrame lace. Fold 
each string double and bring the two ends under and over the 
foundation ; then down thru the loop. In the reverse, the two 
ends pass first over the foundation, then under and out thru 
the loop. In Macrame lace a second foundation-cord lies close 
and parallel to the first. Each end forms two Macrame knots 
on it (as in figure 80). Certain strands are selected as 
foundation cords, and the others knot over them in bars or 
diagonal lines. 

FiGUEE 91. This netting or hammock knot is copied 
from the needle-made net, and not the usual shuttle netting, 
which, altho similar, is more complicated. Wound on a wooden 
needle or stick, the continuous thread constructs a series of 
meshes, which can be of different size according to the 
mesh-stick used for making them. There must be a foundation 
strand to fasten at least the first mesh to, and this is called the 
saddle. Must be firmly fixed somewhere to a hook or 
weighted cushion, so that one can pull with all one's strength 
against it. 

Netting may progress from one mesh, increasing first on 
one side then on the other, to form the diagonal half of a 

106 



PLATE XX. 



PLATE XX 






93 






90. Knotted on noose. 92. Sheet bend. 

91. Netting or hammock knot. 93-94. Weaver's knot. 

95. Carrick bend. 



KNOTS 

square. From this one can diminish to a square or increase 
to an oblong. Let designs be made on point edge squared paper, 
lines running diagonally. Do not remove the pen from the paper, 
follow the hues and emphasize with a dot the point where 
the meshes net together. Every other mesh on the outside 
rows will have a double strand and two knots. Make designs 
with different sized meshes — diagonal and perpendicular. 

Again, you can decide how many meshes wide you wish 
your net or hammock to be, and set up that number on the 
saddle. The mesh-stick enables you to always keep the mesh 
a uniform size, and for fancy netting several sizes are required. 
A stiif piece of card can be used, but the broader top, or 
wedge shaped wood, is an advantage in heavy work. 

In netting, always work from the left toward the right ; 
when the limit is reached on the right, remove the mesh-stick, 
turn the work over and net again from the left. Designs 
experimented with on the point edge squared paper will suggest 
ways of varying the patterns. 

For a circle or round mat, set up a given number of stitches 
on a saddle of fine thread, tie this tight and let the netting 
proceed continuously. Make designs on the half-circle with 
different sized meshes. 

The black line in the diagram shows the saddle (or next 
mesh of previous row of netting), the white strand comes from 
the last knot, over and under the mesh-stick, thru the mesh 
from behind. Hold this with your thumb on the stick; carry 
the end to the right, then over the mesh, under it, and out thru 
its own bight on the right. A similar knot may be worked 
toward the left from your thumb. Draw the thread tight with 
a jerk, and be sure that both meshes twist one over the other. 
Design fringes with and without points. For a hammock. No. 
18 gray fishnet twine is good or the common hard twisted 
white cotton cord Nos. 20-24. An easy way to set up a 
hammock, is to start with one mesh. Wind the thread twice 
about the mesh-stick, tie the end with a hard knot. Slip oflF 
the stick, run a saddle thru the mesh, and fasten tight. Hold 
the mesh-stick below the mesh, with the knot half-way down 

109 



KNOTS 

on the left side. Carry the shuttle with the cord over and 
under the mesh-stick, knot at lower point of first mesh. 
Remove the mesh-stick, turn over, make a new mesh on the 
left in the same way, knot and turn. Continue until you have 
the required width for your hammock, 45 or less on each row. 
Unfasten the saddle and slip it thru the 45 meshes on one side, 
fasten the saddle and now proceed from left to right across the 
netting. When the hammock is large enough, connect groups 
of the end meshes with long loops to a metal ring, bind firm 
close to the ring. This is a capital problem for boys in the 
seventh or eighth grade. Make designs for different sized 
meshes. 

Figure 92. The weaver's knot may be made in two ways 
and the standing bowline is found to be of the same 
construction. It is a flat knot, holds fast and may be worked 
with short ends. It is used by haymakers in binding their 
sheaves, by basketmakers in the ray-stitch, by weavers and 
lace-workers, as well as in heraldry. Sailors call it the sheet 
bend. 

Fold the left (dark) strand toward the right, bring the 
right strand (light) from above, under the loop, over both 
ends on the left, under both strands diagonally on the right 
and out thru the lower half of the first loop. 

Figures 93, 94. The other method of construction is to 
hold vertically, in left hand, the short end in the work. Pass the 
new strand from the left, under the first, in front of your thumb, 
looping toward the left, under the second end, and over the first. 
Now push the first end into the loop over your thumb. Hold 
aU four ends as you draw tight. 

Figure 95. The Carrick bend is another sailor's knot 
familiar in heraldry and Celtic interlaces. In fine soutache 
braids or lacers, it makes good pockets or shopping bags 
Raffia is too soft to be successful. With several strands of 
lacers or solid braid it makes good belts. 

Bring the left (dark) strand from above, make a vertical, 
underhand loop toward the right. Bring the right (light) 
strand from above diagonally under the dark loop ; then weave 

110 



PLATE XXI. 



PLATE XXI 








06. Reef, flat knot. 98. Square or crown knot. 

97. Solomon's knot. 99. T.Wall knot. 

100. Wall and crown knot. 



KNOTS 

the end over, under, over the dark ends, under its own diagonal 
standing part and out over the dark loop. 

FiGUEE 96. The flat, reef or surgeon's knot is the 
strongest for tying and is the basis of a bow knot. From the 
left and the right bring the two strands together, cross with 
a half-hitch; the dark over and under the light. Turn both 
ends back and repeat the half-hitch, crossing the dark under 
the light end, over it and down thru the loop. Notice where 
the loop is on top, both ends he below ; where the loop is below, 
both ends lie above. A variation of this gives the granny knot, 
which slips. 

Children make a chain by tying this fat knot around a 
pencil, bring the ends successively about this foundation, and 
knot each time. If two cords of different colors cross at right 
angles tie each two ends in a half-hitch over the other at right 
angles to the last and we have a spiral chain. 

Figure 97. The Solomon's knot is a favorite in Macrame 
or knotted bags, hats, etc.; the Japanese use it over jars and 
bowls with fine bamboo or cane. It is good to protect 
flower-pots or vases. Allow four strands for each group, tie 
the first and fourth about the second and third in flat or reef 
knot. Carry the third and fourth as they now stand to tie 
with the first and second in the next row. 

Figure 98. The square knot may form a four-sided or 
crown-knot chain, and has been in great vogue with children 
for making leather fobs for watch-chains. It is derived from 
the wall and crown finish the sailor gives to rope, as in figure 
100. A loop may be first tied for the fob, or the two strands 
may at once be laid at right-angles in the middle. If the 
horizontal (dark) strand hes underneath, fold the right end 
over, below to the left ; the lower (hght) end up on the left over 
this; the upper (dark) left end to the right; the upper (hght) 
end down thru the first loop ; draw all firm. Repeat until within 
four inches of the ends, complete with the wall and crown. 

Figure 99. Carry each end for the wall knot under the 
next and toward the center, the last thru the first loop. With 
the strands in the center, repeat the square or crown knot 

113 



KNOTS 

(figure 98). To double this or make a firmer ball, let each end 
follow the strand nearest to it and come out under the walling. 

Figures 101, 102. The Turk's head is the Chinese button 
which they make largely of cloth. In reeds it is very useful 
and ornamental on a basket. Take half a piece of round reed 
(No. 3 or No. 2), near one end make an overhand vertical loop 
towards the right, over this a horizontal, overhand loop toward 
the left. Weave the end under, over, under, over, under, until it 
forms a trefoil. If you are to form a button or knob, begin at 
once to model it up into a round shape. Let the last end now 
follow the first, on the right and inside, thru all its windings for 
a four strand interlace, when the knob is soUd. Use the first and 
last ends of reed to fasten into the weaving of the basket. 

A ^ing may be thus braided if before repeating, the center 
is opened and the strands follow on the left or outside of the 
first end. 

FiGUEEs 103, 104, 105. The Henage Knot. Like the last 
problem, this suggests the interlacing so common on the stone 
monuments of Celtic design. A great variety of charming 
lace patterns originated from these, wrought in fine thread, 
iron, stone or illuminations on vellum. Altho this interlace is 
a favorite for braid trimmings, it has been practically known 
in reed work as the beater. For this, use several strands of 
reed, and work with one from the start, or all together. Notice 
that a strand always passes under or over two strands, if the 
third element interweaves. Start with the center of the reed, 
cross the ends to form a figure 8 ; carry the left strand to the 
right and the right strand to the left. If the lower left strand is 
over the crossing, carry it under the upper loop, down under 
the lower loop, out over the right of the crossing. Carry 
the right under strand up, allowing it to interweave as it 
crosses the other loops, until it returns on the right of the 
crossing. Loop each of these ends back toward the center, 
as in Figure 105. The last ends should be long and a firm reed, 
looped below, form the handle of the beater. This must be 
covered with a binding of fine cane, fastened at the end of the 
handle like the bound border No. 1. 



114 



PLATE XXII. 



PLATE XXII 





105 





104 



101-102. Turk's head. 103-104-105. Henage knot, beater. 



VIII. 

PRACTICAL APPLICATIONS. 

"Art necessarily presupposes knowledge, in any but an infant 
state, scientific knowledge; and, if every art does not bear the 
name of a science, it is only because several sciences are often 
necessary to form the groundwork for a single art. So compli- 
cated are things, for one to be done, we must know the nature 
and properties of many things," 

John Stuakt Mill. 

A few suggestive lists are given from which teachers can 
make their own selection, and in their own way apply the 
foregoing principles of handwork. Many books and countless 
magazines might be mentioned. I will name the fewest possible. 

Aboriginal American Basketry. 

By Otis Tufts Mason. Doubleday & Co., N. Y. 
How TO Make Baskets, More Baskets, and How to Make 

Them. 

By Mary White. Doubleday & Co., N. Y. 
How TO Make Indian and Other Baskets. 

By George Wharton James. Passadena. 
How TO Do Bead-Work. 

By Mary White. Doubleday & Co., N. Y. 
Knots, Ties and Splices. 

By Tom Burgess. Routledge & Co., N. Y. 
Varied Occupations in String Work. 

By Louisa Walker. MacMillan Co., N. Y. 
Encyclopedia of Needlework. 

By Theresa Dillmont. Brentano, N. Y. 

117 



PRACTICAL APPLICATIONS 

" Understand this clearly: you can teach a man to draw a 
straight line and to cut one; to strike a curved line, and to carve 
it; and to copy and carve any number of given lines or forms, 
with admirable speed and perfect precision; and you call his 
work perfect of its kind; but you ask him to think about any of 
these forms, to consider if he cannot find any better in his own 
head, he stops; his execution becomes hesitating; he thinks, and 
then ten to one he thinks wrong; ten to one he makes a mistake 
in the first touch he gives to his work as a thinking being. But 
you have made a man of him for all that. He was only a 
machine before, an animated tool." 

John Ruskin. 

COURSE IN FREE-WEAVING, BASKETS. 

Grade 1. Cut silhouettes of baskets, make card baskets 

round, square, for May baskets, with cord or 

raffia. Wind raffia. 
Grade 2. Weave folded muslin strips from the center, card 

or oak tag baskets. Mats of reed-winding and 

raffia. 
Grade 3. Weave with splints and flats, baskets and trays. 

Reeds No. 1, 2, 3, 4. Make square cornered boxes 

of card. Bind raffia mats. 
Grade 4. Silhouettes of baskets, working drawings. Design 

line borders on circles, squares, oblongs. Round 

reeds 1, 2, 3, 4, fruit baskets, berry baskets, nutting 

baskets, with handles. Plain, ribbon weaves and 

pairing. 
Grade 5. Twined baskets or boxes. Draw sides and design 

patterns on squared paper. Reed-winding with 

raffia, string-ball, cases, pencil trays, pocket for 

wall, lunch boxes. 
Grade 6. Reeds 1, 2, 3, 4, raffia, reed-winding, triple twist 

and fancy weaves. Work basket with cover. 

Baskets for special uses. Draw and design, round 

and square cornered baskets. 
Grade 7. Girls, palm-plaiting, flat cases, boxes, envelopes. 

Draw and design on the diagonal. Boys, large 

scrap-baskets, wooden, woven bottoms, reeds. 

Nos. 4, 5, 6. 

118 



PRACTICAL APPLICATIONS 

Geade 8. Girls, trays of cane over wooden bottoms, cane 
and reed-winding woven baskets. Draw and design. 
With the boys, make covers for stools, rush, splint, 
cane, reed-winding, raffia. 

A list of round baskets to be woven, twined, wrapped or 
sewed. Make designs. 



Button basket. 

Key basket. 

Nut basket. 

May basket. 

Flower basket. 

Fern basket. 

Berry basket. 

Trinket basket. 

Candy basket. 

Candy basket, covered. 

Lunch basket. 

Card basket. 

Bottom for work-bag. 

Work basket. 

Work basket, covered. 

Mending basket. 

Stocking basket. 

Spool basket. 

Pin tray. 

Baby basket. 



Umbrella holder. 

Golf-stick basket. 

Vegetable basket. 

Tea tray. 

Cover for glass. 

Cover for bottle. 

Cover for match-holder. 

Cover for finger bowl. 

Clothes hamper. 

Cover for caserole. 

Cover for plant pot. 

Stand for tea-pot. 

Twine basket. 

Cover for ball of knitting yarn. 

Knitting basket. 

Egg basket. 

Lamp tray. 

Baskets with handles. 

Baskets with rings. 

Hanging basket. 



A list of square cornered baskets made of splint, sweet grass, 
reed-winding, reeds, palm, flats, raffia, Manila-hemp-fiber, pine- 
needles, etc., etc. Constructed in any of foregoing methods. 



Afternoon tea tray. 
Letter tray. 
Desk basket. 
Postal card case. 



Dress suit case. 
Shopping bag. 
Baby basket. 
Scrap basket. 



119 



PRACTICAL APPLICATIONS 



Photograph tray. 

Pencil tray. 

Brush and comb tray. 

Glove box. 

Handkerchief box. 

Candy box. 

Palm traveling bag. 



Wood basket. 
Dog basket. 
Clothes hamper. 
Market basket. 
Basket with handle. 
Bread basket. 
Fruit tray. 



COURSE IN BASKETRY. 

Geade 1. Winding. Picture frames. Rings. 

Grade 2. Braiding. Mats. Belts. Dolls' hats. 

Grade 3. Raffia weaving, card looms. Knotted bags, raffia, 

cords. 
Grade 4. Reed work commenced. Basket with weaver spoke. 

Simple round reed baskets, mats. 
Grade 5. Reed baskets, with handles. Different weaves. 

Splint baskets. 
Grade 6. Sewed baskets. Lazy-squaw, figure-of-eight, knot 

stitch. 
Grade 7. Square cornered baskets. Twined baskets. Scrap 

baskets. 
Grade 8. Chair-caning. Pahn-plaited baskets. 

COURSE IN COILED OR SEWED BASKETS. 

G^ade 1. Round card baskets, stitched. Wind raffia, cut 

silhouettes. 
Grade 2. Lacers for looped stitch, mats, bags, pockets, 

chains. Paper and mushn patterns for bags. 
Grade 3. Eiiot raffia, make handles for bags over raffia and 

reed. Raffia cross-stitch over spUnts for trays, 

boxes. Design striped borders. 
Grade 4. Sew raffia over raffia or rope. Card model for 

round basket. Design for border, for center. 

Baskets and mats and bottoms for bags. 
Grade 5. Crochet and knot school-bags. Twined baskets. 

Bead chains. Make working drawings, patterns 

and designs. Wrapped stitches. 



120 



PRACTICAL APPLICATIONS 

Geade 6. AppKque embroidery, satin stitch edge. Design 
in color on linen. White doylies, towels, laid 
work. Baskets close-sewed and ray stitch. Make 
working drawings, patterns and designs. 

Geade 7. Raffia, round reeds, long and short stitch, figure- 
of-eight stitch, bottoms for knotted bags. Shallow 
trays. Make working drawings, patterns and 
designs. 

Geade 8. Raffia and round reeds, oblong trays for pencils, 
jewelry, desk fittings, lamp mat. Sweet grass, 
corn-husks, pine-needles, or grass gathered and 
prepared, ray stitch. Knot or lace stitch with or 
without beads. Make working drawings, patterns, 
designs. 

COURSE IN KNOTS, NETTINGS, ETC. 

Geade 1. Chains, mats, of cord, lacers, knots and beads. 

Fold paper, crayon line designs. 
Geade 2. Knot bags, mats, balls, belts, doU's hammock. 

Draw new patterns with crayons. Lacers, raffia, cord. 
Geade S. Braid chains, fobs, mats. Loop bags with lacers. 

Make paper patterns for bags. Lacers, raffia, cord. 
Geade 4. Crochet balls, caps, wash-cloths, round and square 

bean bags, laundry-bags, pockets. Make working 

drawings, patterns, designs for line borders. 
Geade 5. Fancy knotted bags, school-bags, work-bags, 

pockets. Make working drawings, patterns and 

designs on squared paper. 
Geade 6. Knitting, scarfs, wash-cloths, baby's sack, purse, 

shawl. Make working drawings patterns and 

designs on squared paper. 
Geade 7. Drawn-work, cut-work, knotted lace stitches, 

doylies, collars, cuffs, tray-cloths. Make working 

drawings, patterns and designs on the square. 
Geade 8. Net shopping bags, fringes, hammocks, tennis-net. 

Vary the designs. Tape lace mats, collars. Make 

working drawings, patterns and designs. 



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PRACTICAL APPLICATIONS 



COURSE IN FRAME AND LOOM WEAVING. 



Grade 1. Seegmiller bogus-paper mats, children tint one-half, 
cut and weave. Fold, tint, cut and weave paper 
mats with strips of card. 

Grade 2. Muslin folded, free weaving from the center. On 
straw-board frame, twine warp, colored rovings, 
jute in stripes. Paint stripes of color. 

Grade 3. Fairbault or card frame. Twine warp, raffia warp, 
weft of jute, cotton rovings, raffia. Cushion covers, 
geometric tapestry designs. Bags. Design on 
squared paper. 

Grade 4. Weave on card frame, white tape ^4 inch, 
make belts, doylies, pockets, covers, cases. 
Warp and weft aHke. Make working drawing, 
patterns, designs for cross-stitch with red and 
blue embroidery cotton. 

Grade 5. Raffia on frame, warp and weft alike, purse, card 
case, pad-covers, blotters, postal card cases. 
Bargarren or heavy Hnen on Woodbury loom. 
Raffia over sphnt, free weaving. Make working 
drawings, patterns and designs on squared paper. 
Card frame, stretch threads, open and solid pattern 
effects. Knotting and needle weaving. Make 
working drawings, patterns and designs on 
squared paper. 

Portfolio, book-cover, photograph case, travelling 
case. Fine linen, silk threads stretched for warp 
and same woven for weft, or darned figures like 
weaving, or threads stretched for Spanish laid 
work. 

Grade 8. Linen Thread Company's loom, or on cards, 
tapestry stitch. Cotton warp ; silk, worsted weft. 
Bags, belts, cases, covers. Make working drawings, 
patterns and S3rmbolic designs. 



Grade 6. 



Grade 7. 



122 



PRACTICAL APPLICATIONS 



COURSE IN BEAD WORK. 

Grade 1. String beads for counting, for repeats, even and 

uneven. Cord with beads held at intervals by 

knots. Chain of two colors, return the thread. 

Make patterns on folded paper with colored paper 

dots and squares. 
Grade 2. Daisy chains, loop chains, braided chain, three 

strands of beads. Ribbon button-bag, edge beaded. 

Cut and paste colored paper, free cutting designs. 
Grade 3. Rosettes on wire for buckles, lapels for ribbon 

pockets, bottom of work-bag. Free sewed chains, 

five beads. Design with crayon on folded square 

paper. 
Grade 4. Crochet silk belt, purses, pockets with scattered 

bead units. Design with units. 
Grade 5. Card loom chains ; leather pen-wipers, needle-books, 

knife-sheath, belt-purse, with beaded edges. 
Grade 6. Cut paper patterns for children's moccasins, 

pockets, purses ; make of cloth or chamois with 

borders in beads. Design borders. 
Grade 7. Design and make linen apphque sofa pillow or 

cover for note-book. Sewed basket, knot stitch 

with beads. Knit bead designs on bag, pocket. 
Grade 8. Leather cases or covers for special uses, cut-work 

held by beads. Design and sew beads on the 

leather. 



123 



SUPPLIES. 

A FEW ADDRESSES FOR SUPPLIES: 

For rattan hy the wholesale in 5 poimd bundles; reed-xomding, 
flats, cane bundles, 1,000 yards. 

American Reed and Rattan Manufactueing Company, 

Norman and Kingsland Avenues, 

Brooklyn. 

United States Rattan Company, 
Madison Street, Hoboken, New Jersey. 

Metropolitan lacers ^i/^ yards, by the gross, white, gray, black. . 
Spool narrow tape, 1,000 yards. 

Calhoun & Robbins, 
408 Broadway, New York. 

Beads. 

S. A. Frost's Son, 
33 Howard Street, New York. 

Raffia, palm, splints, cotton rovings, manual training materials, 

looms. 

J. L. Hammett Company, 
260 Devonshire Street, Boston, Mass. 

Milton Bradley, 
11 East 16th Street, New York. 

Swedish loom. 

Miss Glantzberg, 
New Britain, Connecticut. 

Cable, Macrame, druggists' cord, per poimd, in hanks or balls, 

Johnston & Company, 
3 Lispenard Street, New York. 

124 



SUPPLIES. 

Colored worsteds. 

A. & M. Kaeagheusian, 
19th Street and Broadway, New York. 

Linen floss and looms. 

Linen Thread Company, 
96 Franklin Street, New York. 

Colored raffia, jute, twine, etc., per poimd. 

Chas. E. Mather, 
Braggville, Massachusetts. 

Yarns, cotton, linen, hemp; sisal twines, wicking, tubing; rope, 

per pound. 

J. P. Na WRATH & Company, 
111 Wooster Street, New York. 

Reed, raffia, sweet grass, pine-needles, ash-splints. 

Vaughan's Seed Store, 
14 Barclay Street, New York. 

Leather. 

M. B. WiLLcox, 

180 William Street, New York. 

Yarns, cotton and worsted. 

F. A. Straus, 
93 Greene Street, New York. 



125 



jUN & J:*09 



